essay on why i like art

A Scholarly Skater

Empowering everyone to approach art with confidence.

Why I Love Art (and You Will Too)

Cover photo depicting tile decoration on the outside of a building in Pakistan, Aa Dil/Pexels .

Here are twelve reasons to give art a try.

• Art can be beautiful. But it can also be not beautiful, if you’re more into that. Either way, it elevates the ordinary and unusual alike, bringing meaning to even the most mundane of subjects.
• Art makes you think. The most powerful works of art, not to mention the stories behind them, inspire deep and meaningful thoughts. They make you consider things you wouldn’t ordinarily. And because great art generally has many layers of possible meaning, it rewards careful attention and study over time.
• Art lets you see things in a different way. Look at four paintings of a flower to discover four different ways of seeing a flower. There are so many different ways to experience the same thing, and art can give you new perspectives on things you see and encounter in everyday life.
• Art creates emotions. Joy, fear, love, nostalgia, pride, and peace are just a few of the many emotions art can make you feel.
• Art conveys other people’s experiences. Walking in someone else’s shoes has nothing on looking at an artwork they created. It literally and metaphorically lets you see the world through other people’s eyes. Enjoying a work of art can also make you feel connected to something bigger than you and introduces you to ideas and worldviews other than your own.
• Art lets you time travel. Look at an old artwork, and it’s almost like journeying back to times long gone by. Artworks are tangible links with the past, and that past can be illuminating to us today.
• Art helps you escape. Art isn’t always happy, but it’s often a good diversion from problems, stress, and daily life. Studies suggest that art viewing is good for our overall mental health .
• Art is subject to opinion. You might not agree with the textbooks, but your experience with artwork is your own and completely valid. Don’t let anyone tell you otherwise. There are almost always multiple level of meaning and many ways to interpret them.
• Art rewards you for paying attention, and it’s really not that hard. To uncover artwork’s secrets, look at it long and hard. Background information can help, but the most important thing to do is look. It’s that simple – no translation necessary.
• Art has something for everyone. With so many different artists, styles, and subjects out there, there’s artwork to suit every person, mood, and situation.
• Art can’t judge you or get offended. You don’t have to worry about getting it wrong, looking dumb, or feeling awkward around an artwork you don’t like or understand. Art doesn’t know or care what you think of it. That makes art viewing lower stakes than other cultural experiences, where you might be afraid of offending someone, doing the wrong thing, or looking ignorant.
• Art is accessible. For most of us, it’s far easier to go to a museum and see art from another culture than it is to travel to that place in person or attend a cultural or religious event of that tradition. Art can even connect us to long-ago cultures that don’t exist at all anymore. 1

Gain fundamental skills for art lovers – no prior experience necessary.

• This point was made by Professor Grant Hardy of the University of North Carolina Asheville in the first lecture of his Great Courses series Sacred Texts of the World . Professor Hardy was talking about why studying world scriptures is a great way to understand world religions, but I felt that the point is also applicable to artworks. ↩︎

Three Reasons Why You Should Care About Architecture

Sometimes, I think architectural history is even more fascinating and meaningful than the history of smaller-scale arts like painting and sculpture. In this post, I give you three reasons why you should learn about architecture.

Seven Reasons to Study Art History

I stumbled upon art history by accident and loved it, but here are some much better reasons to study this fascinating subject.

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Why i love art... and why you should too, art is the best way to release emotions and promote mindfulness..

Growing up the daughter of a mother who minored in art in college, the interpretation of the visual manifestation of the innermost workings of the heart and its ability to be transpired in various mediums were highly inspiring. The most interesting thing about art, for me, even when growing up, was its therapeutic properties.

Art, in and of itself, is not limited to just visuals, like painting, drawing, or photography, but can be physical or audible. I believe that there are many athletes who have cultivated and perfected their sport to the point where it is an art, an expression of the innermost feelings and workings of the soul, manifested in the human body. The idea of the versatility of art, the fact that it is not limited to what can be seen in museums, is amazing.

I love art and think it is entirely necessary to incorporate into everyday life. Art, for me, has taught me so much. I have begun to understand, through my art in its various mediums and forms, my life. Sometimes when my thoughts cannot set themselves straight, when they run wild with the transmogrified incidents I overanalyze, sketching reorders my thoughts.

I have watched what I am feeling inside, the invisible sentiments of my mind, become beauty on paper, and transport themselves into my art and whatever it is I feel. It's really amazing to see the way my hands make sense of what is going on in my mind.

While I often use sketching and photography as my primary mediums, that does not discount the importance of having an artistic outlet that encourages mindfulness. It's incredibly important throughout life to have an outlet through which one is able to express themselves and reorder their thoughts. It is in artistic outlets that one is able to understand who they are as an individual, develop their experiences and enhance their particular tastes and understand their emotions.

It's like filling a balloon. Emotions fill your mind as air fills a balloon, crowding it and overfilling it until it bursts. One must release emotions, little bits at a time so that it won’t burst. Art is a great way to do that. I know there are days when I am on the verge of breaking, and need a release. It is art that helps me release my mind from its tethers and make sense of my thoughts.

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25 beatles lyrics: your go-to guide for every situation, the best lines from the fab four.

For as long as I can remember, I have been listening to The Beatles. Every year, my mom would appropriately blast “Birthday” on anyone’s birthday. I knew all of the words to “Back In The U.S.S.R” by the time I was 5 (Even though I had no idea what or where the U.S.S.R was). I grew up with John, Paul, George, and Ringo instead Justin, JC, Joey, Chris and Lance (I had to google N*SYNC to remember their names). The highlight of my short life was Paul McCartney in concert twice. I’m not someone to “fangirl” but those days I fangirled hard. The music of The Beatles has gotten me through everything. Their songs have brought me more joy, peace, and comfort. I can listen to them in any situation and find what I need. Here are the best lyrics from The Beatles for every and any occasion.

And in the end, the love you take is equal to the love you make

The End- Abbey Road, 1969

The sun is up, the sky is blue, it's beautiful and so are you

Dear Prudence- The White Album, 1968

Love is old, love is new, love is all, love is you

Because- Abbey Road, 1969

There's nowhere you can be that isn't where you're meant to be

All You Need Is Love, 1967

Life is very short, and there's no time for fussing and fighting, my friend

We Can Work It Out- Rubber Soul, 1965

He say, "I know you, you know me", One thing I can tell you is you got to be free

Come Together- Abbey Road, 1969

Oh please, say to me, You'll let me be your man. And please say to me, You'll let me hold your hand

I Wanna Hold Your Hand- Meet The Beatles!, 1964

It was twenty years ago today, Sgt. Pepper taught the band to play. They've been going in and out of style, but they're guaranteed to raise a smile

Sgt. Pepper's Lonely Hearts Club Band-1967

Living is easy with eyes closed, misunderstanding all you see

Strawberry Fields Forever- Magical Mystery Tour, 1967

Can you hear me? When it rains and shine, it's just a state of mind

Rain- Paperback Writer "B" side, 1966

Little darling, it's been long cold lonely winter. Little darling, it feels like years since it' s been here. Here comes the sun, Here comes the sun, and I say it's alright

Here Comes The Sun- Abbey Road, 1969

We danced through the night and we held each other tight, and before too long I fell in love with her. Now, I'll never dance with another when I saw her standing there

Saw Her Standing There- Please Please Me, 1963

I love you, I love you, I love you, that's all I want to say

Michelle- Rubber Soul, 1965

You say you want a revolution. Well you know, we all want to change the world

Revolution- The Beatles, 1968

All the lonely people, where do they all come from. All the lonely people, where do they all belong

Eleanor Rigby- Revolver, 1966

Oh, I get by with a little help from my friends

With A Little Help From My Friends- Sgt. Pepper's Lonely Hearts Club Band, 1967

Hey Jude, don't make it bad. Take a sad song and make it better

Hey Jude, 1968

Yesterday, all my troubles seemed so far away. Now it looks as though they're here to stay. Oh, I believe in yesterday

Yesterday- Help!, 1965

And when the brokenhearted people, living in the world agree, there will be an answer, let it be.

Let It Be- Let It Be, 1970

And anytime you feel the pain, Hey Jude, refrain. Don't carry the world upon your shoulders

I'll give you all i got to give if you say you'll love me too. i may not have a lot to give but what i got i'll give to you. i don't care too much for money. money can't buy me love.

Can't Buy Me Love- A Hard Day's Night, 1964

All you need is love, love is all you need

All You Need Is Love- Magical Mystery Tour, 1967

Whisper words of wisdom, let it be

Blackbird singing in the dead of night, take these broken wings and learn to fly. all your life, you were only waiting for this moment to arise.

Blackbird- The White Album, 1968

Though I know I'll never lose affection, for people and things that went before. I know I'll often stop and think about them. In my life, I love you more

In My Life- Rubber Soul, 1965

While these are my 25 favorites, there are quite literally 1000s that could have been included. The Beatles' body of work is massive and there is something for everyone. If you have been living under a rock and haven't discovered the Fab Four, you have to get musically educated. Stream them on Spotify, find them on iTunes or even buy a CD or record (Yes, those still exist!). I would suggest starting with 1, which is a collection of most of their #1 songs, or the 1968 White Album. Give them chance and you'll never look back.

14 Invisible Activities: Unleash Your Inner Ghost!

Obviously the best superpower..

The best superpower ever? Being invisible of course. Imagine just being able to go from seen to unseen on a dime. Who wouldn't want to have the opportunity to be invisible? Superman and Batman have nothing on being invisible with their superhero abilities. Here are some things that you could do while being invisible, because being invisible can benefit your social life too.

1. "Haunt" your friends.

Follow them into their house and cause a ruckus.

2. Sneak into movie theaters.

Going to the cinema alone is good for your mental health , says science

Considering that the monthly cost of subscribing to a media-streaming service like Netflix is oft...

Free movies...what else to I have to say?

3. Sneak into the pantry and grab a snack without judgment.

Late night snacks all you want? Duh.

4. Reenact "Hollow Man" and play Kevin Bacon.

America's favorite son? And feel what it's like to be in a MTV Movie Award nominated film? Sign me up.

5. Wear a mask and pretend to be a floating head.

Just another way to spook your friends in case you wanted to.

6. Hold objects so they'll "float."

"Oh no! A floating jar of peanut butter."

7. Win every game of hide-and-seek.

Just stand out in the open and you'll win.

8. Eat some food as people will watch it disappear.

Even everyday activities can be funny.

9. Go around pantsing your friends.

Even pranks can be done; not everything can be good.

10. Not have perfect attendance.

You'll say here, but they won't see you...

11. Avoid anyone you don't want to see.

Whether it's an ex or someone you hate, just use your invisibility to slip out of the situation.

12. Avoid responsibilities.

Chores? Invisible. People asking about social life? Invisible. Family being rude? Boom, invisible.

13. Be an expert on ding-dong-ditch.

Never get caught and have the adrenaline rush? I'm down.

14. Brag about being invisible.

Be the envy of the town.

But don't, I repeat, don't go in a locker room. Don't be a pervert with your power. No one likes a Peeping Tom.

Good luck, folks.

19 Lessons I'll Never Forget from Growing Up In a Small Town

There have been many lessons learned..

Small towns certainly have their pros and cons. Many people who grow up in small towns find themselves counting the days until they get to escape their roots and plant new ones in bigger, "better" places. And that's fine. I'd be lying if I said I hadn't thought those same thoughts before too. We all have, but they say it's important to remember where you came from. When I think about where I come from, I can't help having an overwhelming feeling of gratitude for my roots. Being from a small town has taught me so many important lessons that I will carry with me for the rest of my life.

1. The importance of traditions.

Sometimes traditions seem like a silly thing, but the fact of it is that it's part of who you are. You grew up this way and, more than likely, so did your parents. It is something that is part of your family history and that is more important than anything.

2. How to be thankful for family and friends.

No matter how many times they get on your nerves or make you mad, they are the ones who will always be there and you should never take that for granted.

3. How to give back.

When tragedy strikes in a small town, everyone feels obligated to help out because, whether directly or indirectly, it affects you too. It is easy in a bigger city to be able to disconnect from certain problems. But in a small town those problems affect everyone.

4. What the word "community" really means.

Along the same lines as #3, everyone is always ready and willing to lend a helping hand when you need one in a small town and to me that is the true meaning of community. It's working together to build a better atmosphere, being there to raise each other up, build each other up, and pick each other up when someone is in need. A small town community is full of endless support whether it be after a tragedy or at a hometown sports game. Everyone shows up to show their support.

5. That it isn't about the destination, but the journey.

People say this to others all the time, but it takes on a whole new meaning in a small town. It is true that life is about the journey, but when you're from a small town, you know it's about the journey because the journey probably takes longer than you spend at the destination. Everything is so far away that it is totally normal to spend a couple hours in the car on your way to some form of entertainment. And most of the time, you're gonna have as many, if not more, memories and laughs on the journey than at the destination.

6. The consequences of making bad choices.

Word travels fast in a small town, so don't think you're gonna get away with anything. In fact, your parents probably know what you did before you even have a chance to get home and tell them. And forget about being scared of what your teacher, principle, or other authority figure is going to do, you're more afraid of what your parents are gonna do when you get home.

7. To trust people, until you have a reason not to.

Everyone deserves a chance. Most people don't have ill-intentions and you can't live your life guarding against every one else just because a few people in your life have betrayed your trust.

8. To be welcoming and accepting of everyone.

While small towns are not always extremely diverse, they do contain people with a lot of different stories, struggle, and backgrounds. In a small town, it is pretty hard to exclude anyone because of who they are or what they come from because there aren't many people to choose from. A small town teaches you that just because someone isn't the same as you, doesn't mean you can't be great friends.

9. How to be my own, individual person.

In a small town, you learn that it's okay to be who you are and do your own thing. You learn that confidence isn't how beautiful you are or how much money you have, it's who you are on the inside.

10. How to work for what I want.

Nothing comes easy in life. They always say "gardens don't grow overnight" and if you're from a small town you know this both figuratively and literally. You certainly know gardens don't grow overnight because you've worked in a garden or two. But you also know that to get to the place you want to be in life it takes work and effort. It doesn't just happen because you want it to.

11. How to be great at giving directions.

If you're from a small town, you know that you will probably only meet a handful of people in your life who ACTUALLY know where your town is. And forget about the people who accidentally enter into your town because of google maps. You've gotten really good at giving them directions right back to the interstate.

12. How to be humble .

My small town has definitely taught me how to be humble. It isn't always about you, and anyone who grows up in a small town knows that. Everyone gets their moment in the spotlight, and since there's so few of us, we're probably best friends with everyone so we are as excited when they get their moment of fame as we are when we get ours.

13. To be well-rounded.

Going to a small town high school definitely made me well-rounded. There isn't enough kids in the school to fill up all the clubs and sports teams individually so be ready to be a part of them all.

14. How to be great at conflict resolution.

In a small town, good luck holding a grudge. In a bigger city you can just avoid a person you don't like or who you've had problems with. But not in a small town. You better resolve the issue fast because you're bound to see them at least 5 times a week.

15. The beauty of getting outside and exploring.

One of my favorite things about growing up in a rural area was being able to go outside and go exploring and not have to worry about being in danger. There is nothing more exciting then finding a new place somewhere in town or in the woods and just spending time there enjoying the natural beauty around you.

16. To be prepared for anything.

You never know what may happen. If you get a flat tire, you better know how to change it yourself because you never know if you will be able to get ahold of someone else to come fix it. Mechanics might be too busy , or more than likely you won't even have enough cell service to call one.

17. That you don't always have to do it alone.

It's okay to ask for help. One thing I realized when I moved away from my town for college, was how much my town has taught me that I could ask for help is I needed it. I got into a couple situations outside of my town where I couldn't find anyone to help me and found myself thinking, if I was in my town there would be tons of people ready to help me. And even though I couldn't find anyone to help, you better believe I wasn't afraid to ask.

18. How to be creative.

When you're at least an hour away from normal forms of entertainment such as movie theaters and malls, you learn to get real creative in entertaining yourself. Whether it be a night looking at the stars in the bed of a pickup truck or having a movie marathon in a blanket fort at home, you know how to make your own good time.

19. To brush off gossip.

It's all about knowing the person you are and not letting others influence your opinion of yourself. In small towns, there is plenty of gossip. But as long as you know who you really are, it will always blow over.

Grateful Beyond Words: A Letter to My Inspiration

I have never been so thankful to know you..

I can't say "thank you" enough to express how grateful I am for you coming into my life. You have made such a huge impact on my life. I would not be the person I am today without you and I know that you will keep inspiring me to become an even better version of myself.

You have taught me that you don't always have to strong. You are allowed to break down as long as you pick yourself back up and keep moving forward. When life had you at your worst moments, you allowed your friends to be there for you and to help you. You let them in and they helped pick you up. Even in your darkest hour you showed so much strength. I know that you don't believe in yourself as much as you should but you are unbelievably strong and capable of anything you set your mind to.

Your passion to make a difference in the world is unbelievable. You put your heart and soul into your endeavors and surpass any personal goal you could have set. Watching you do what you love and watching you make a difference in the lives of others is an incredible experience. The way your face lights up when you finally realize what you have accomplished is breathtaking and I hope that one day I can have just as much passion you have.

SEE MORE: A Letter To My Best Friend On Her Birthday

The love you have for your family is outstanding. Watching you interact with loved ones just makes me smile . You are so comfortable and you are yourself. I see the way you smile when you are around family and I wish I could see you smile like this everyday. You love with all your heart and this quality is something I wished I possessed.

You inspire me to be the best version of myself. I look up to you. I feel that more people should strive to have the strength and passion that you exemplify in everyday life.You may be stubborn at points but when you really need help you let others in, which shows strength in itself. I have never been more proud to know someone and to call someone my role model. You have taught me so many things and I want to thank you. Thank you for inspiring me in life. Thank you for making me want to be a better person.

Waitlisted for a College Class? Here's What to Do!

Dealing with the inevitable realities of college life..

Course registration at college can be a big hassle and is almost never talked about. Classes you want to take fill up before you get a chance to register. You might change your mind about a class you want to take and must struggle to find another class to fit in the same time period. You also have to make sure no classes clash by time. Like I said, it's a big hassle.

This semester, I was waitlisted for two classes. Most people in this situation, especially first years, freak out because they don't know what to do. Here is what you should do when this happens.

Don't freak out

This is a rule you should continue to follow no matter what you do in life, but is especially helpful in this situation.

Email the professor

Around this time, professors are getting flooded with requests from students wanting to get into full classes. This doesn't mean you shouldn't burden them with your email; it means they are expecting interested students to email them. Send a short, concise message telling them that you are interested in the class and ask if there would be any chance for you to get in.

Attend the first class

Often, the advice professors will give you when they reply to your email is to attend the first class. The first class isn't the most important class in terms of what will be taught. However, attending the first class means you are serious about taking the course and aren't going to give up on it.

Keep attending class

Every student is in the same position as you are. They registered for more classes than they want to take and are "shopping." For the first couple of weeks, you can drop or add classes as you please, which means that classes that were once full will have spaces. If you keep attending class and keep up with assignments, odds are that you will have priority. Professors give preference to people who need the class for a major and then from higher to lower class year (senior to freshman).

Have a backup plan

For two weeks, or until I find out whether I get into my waitlisted class, I will be attending more than the usual number of classes. This is so that if I don't get into my waitlisted class, I won't have a credit shortage and I won't have to fall back in my backup class. Chances are that enough people will drop the class, especially if it is very difficult like computer science, and you will have a chance. In popular classes like art and psychology, odds are you probably won't get in, so prepare for that.

Remember that everything works out at the end

Life is full of surprises. So what if you didn't get into the class you wanted? Your life obviously has something else in store for you. It's your job to make sure you make the best out of what you have.

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Essay on Art

500 words essay on art.

Each morning we see the sunshine outside and relax while some draw it to feel relaxed. Thus, you see that art is everywhere and anywhere if we look closely. In other words, everything in life is artwork. The essay on art will help us go through the importance of art and its meaning for a better understanding.

What is Art?

For as long as humanity has existed, art has been part of our lives. For many years, people have been creating and enjoying art.  It expresses emotions or expression of life. It is one such creation that enables interpretation of any kind.

It is a skill that applies to music, painting, poetry, dance and more. Moreover, nature is no less than art. For instance, if nature creates something unique, it is also art. Artists use their artwork for passing along their feelings.

Thus, art and artists bring value to society and have been doing so throughout history. Art gives us an innovative way to view the world or society around us. Most important thing is that it lets us interpret it on our own individual experiences and associations.

Art is similar to live which has many definitions and examples. What is constant is that art is not perfect or does not revolve around perfection. It is something that continues growing and developing to express emotions, thoughts and human capacities.

Importance of Art

Art comes in many different forms which include audios, visuals and more. Audios comprise songs, music, poems and more whereas visuals include painting, photography, movies and more.

You will notice that we consume a lot of audio art in the form of music, songs and more. It is because they help us to relax our mind. Moreover, it also has the ability to change our mood and brighten it up.

After that, it also motivates us and strengthens our emotions. Poetries are audio arts that help the author express their feelings in writings. We also have music that requires musical instruments to create a piece of art.

Other than that, visual arts help artists communicate with the viewer. It also allows the viewer to interpret the art in their own way. Thus, it invokes a variety of emotions among us. Thus, you see how essential art is for humankind.

Without art, the world would be a dull place. Take the recent pandemic, for example, it was not the sports or news which kept us entertained but the artists. Their work of arts in the form of shows, songs, music and more added meaning to our boring lives.

Therefore, art adds happiness and colours to our lives and save us from the boring monotony of daily life.

Get the huge list of more than 500 Essay Topics and Ideas

Conclusion of the Essay on Art

All in all, art is universal and can be found everywhere. It is not only for people who exercise work art but for those who consume it. If there were no art, we wouldn’t have been able to see the beauty in things. In other words, art helps us feel relaxed and forget about our problems.

FAQ of Essay on Art

Question 1: How can art help us?

Answer 1: Art can help us in a lot of ways. It can stimulate the release of dopamine in your bodies. This will in turn lower the feelings of depression and increase the feeling of confidence. Moreover, it makes us feel better about ourselves.

Question 2: What is the importance of art?

Answer 2: Art is essential as it covers all the developmental domains in child development. Moreover, it helps in physical development and enhancing gross and motor skills. For example, playing with dough can fine-tune your muscle control in your fingers.

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The Value of Art Why should we care about art?

One of the first questions raised when talking about art is simple—why should we care? Art in the contemporary era is easy to dismiss as a selfish pastime for people who have too much time on their hands. Creating art doesn't cure disease, build roads, or feed the poor. So to understand the value of art, let’s look at how art has been valued through history and consider how it is valuable today.

The value of creating

At its most basic level, the act of creating is rewarding in itself. Children draw for the joy of it before they can speak, and creating pictures, sculptures and writing is both a valuable means of communicating ideas and simply fun. Creating is instinctive in humans, for the pleasure of exercising creativity. While applied creativity is valueable in a work context, free-form creativity leads to new ideas.

Material value

Through the ages, art has often been created from valuable materials. Gold , ivory and gemstones adorn medieval crowns , and even the paints used by renaissance artists were made from rare materials like lapis lazuli , ground into pigment. These objects have creative value for their beauty and craftsmanship, but they are also intrinsically valuable because of the materials they contain.

Historical value

Artwork is a record of cultural history. Many ancient cultures are entirely lost to time except for the artworks they created, a legacy that helps us understand our human past. Even recent work can help us understand the lives and times of its creators, like the artwork of African-American artists during the Harlem Renaissance . Artwork is inextricably tied to the time and cultural context it was created in, a relationship called zeitgeist , making art a window into history.

Religious value

For religions around the world, artwork is often used to illustrate their beliefs. Depicting gods and goddesses, from Shiva to the Madonna , make the concepts of faith real to the faithful. Artwork has been believed to contain the spirits of gods or ancestors, or may be used to imbue architecture with an aura of awe and worship like the Badshahi Mosque .

Patriotic value

Art has long been a source of national pride, both as an example of the skill and dedication of a country’s artisans and as expressions of national accomplishments and history, like the Arc de Triomphe , a heroic monument honoring the soldiers who died in the Napoleonic Wars. The patriotic value of art slides into propaganda as well, used to sway the populace towards a political agenda.

Symbolic value

Art is uniquely suited to communicating ideas. Whether it’s writing or painting or sculpture, artwork can distill complex concepts into symbols that can be understood, even sometimes across language barriers and cultures. When art achieves symbolic value it can become a rallying point for a movement, like J. Howard Miller’s 1942 illustration of Rosie the Riveter, which has become an icon of feminism and women’s economic impact across the western world.

Societal value

And here’s where the rubber meets the road: when we look at our world today, we see a seemingly insurmountable wave of fear, bigotry, and hatred expressed by groups of people against anyone who is different from them. While issues of racial and gender bias, homophobia and religious intolerance run deep, and have many complex sources, much of the problem lies with a lack of empathy. When you look at another person and don't see them as human, that’s the beginning of fear, violence and war. Art is communication. And in the contemporary world, it’s often a deeply personal communication. When you create art, you share your worldview, your history, your culture and yourself with the world. Art is a window, however small, into the human struggles and stories of all people. So go see art, find art from other cultures, other religions, other orientations and perspectives. If we learn about each other, maybe we can finally see that we're all in this together. Art is a uniquely human expression of creativity. It helps us understand our past, people who are different from us, and ultimately, ourselves.

Reed Enger, "The Value of Art, Why should we care about art?," in Obelisk Art History , Published June 24, 2017; last modified November 08, 2022, http://www.arthistoryproject.com/essays/the-value-of-art/.

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Greater Good Science Center • Magazine • In Action • In Education

Why We Make Art

Why do you make art? That’s the simple question Greater Good posed to seven artists. Their answers are surprising, and very diverse. They mention making art for fun and adventure; building bridges between themselves and the rest of humanity; reuniting and recording fragments of thought, feeling, and memory; and saying things that they can’t express in any other way.

All their answers are deeply personal. Elsewhere on Greater Good , we explore the possible cognitive and emotional benefits of the arts, and yet these artists evoke a more fundamental benefit: They are just doing what they feel they’re born to do.

Gina Gibney: Giving power to others

Gina Gibney is the artistic director of the New York-based Gina Gibney Dance Company, which was founded in 1991 to serve a dual mission: to create and perform contemporary choreography that draws upon the strength and insights of women and men, and to enrich and reshape lives through programs that give voice to communities in need, especially survivors of domestic abuse and individuals living with HIV/AIDS.

I make art for a few reasons. In life, we experience so much fragmentation of thought and feeling. For me, creating art brings things back together.

In my own work, that is true throughout the process. At the beginning, developing the basic raw materials for the work is deeply reflective and informative. Later, bringing those materials together into a form—distilling and shaping movement, creating a context, working to something that feels cohesive and complete. That’s incredibly powerful for me—something that really keeps me going.

Interestingly, the body of my work is like a catalog of the events and thoughts of my life. For me, making work is almost like keeping a journal. Giving that to someone else—as a kind of gift through live performance—is the most meaningful aspect of my work.

Dance is a powerful art form for the very reason that it doesn’t need to explain or comment on itself. One of the most amazing performances I have ever seen in my life was of a woman—a domestic violence survivor—dancing in a tiny conference room in a domestic violence shelter for other survivors. She was not a professional dancer. She was a woman who had faced unbelievable challenges and who was living with a great deal of sadness.  She created and performed an amazing solo—but to have described her performance as “sad” would have been to diminish what we experienced.

That’s the power of dance. You can feel something and empathize with it on a very deep level, and you don’t have to put words to it.

Judy Dater: I like expressing emotions

Judy Dater has been making photographs for more than 40 years, and is considered one of America’s foremost photographers. The recipient of a Guggenheim and many other awards, her books include Imogen Cunningham: A Portrait , Women and Other Visions , Body and Soul and Cycles .

I like expressing emotions—to have others feel what it is I’m feeling when I’m photographing people.

Empathy is essential to portraiture. I’ve done landscapes, and I think they can be very poetic and emotional, but it’s different from the directness of photographing a person. I think photographing people is, for me, the best way to show somebody something about themselves—either the person I photograph or the person looking—that maybe they didn’t already know. Maybe it’s presumptuous, but that’s the desire. I feel like I’m attending to people when I’m photographing them, and I think I understand people better because I’ve been looking at them intensely for 40-some years.

Pete Docter: It’s fun making things

Pete Docter has been involved in some of Pixar Studio’s most popular and seminal animated features, including Toy Story, A Bug’s Life, Cars, and Wall-E, but he is best known as the director of the Academy-Award-winning Monsters, Inc. Docter is currently directing Up, set for release in May of 2009.

I make art primarily because I enjoy the process. It’s fun making things.

And I’m sure there is also that universal desire to connect with other people in some way, to tell them about myself or my experiences. What I really look for in a project is something that resonates with life as I see it, and speaks to our experiences as humans. That probably sounds pretty highfalutin’ coming from someone who makes cartoons, but I think all the directors at Pixar feel the same way. We want to entertain people, not only in the vacuous, escapist sense (though to be sure, there’s a lot of that in our movies too), but in a way that resonates with the audience as being truthful about life—some deeper emotional experience that they recognize in their own existence. On the surface, our films are about toys, monsters, fish, or robots; at a foundational level they’re about very universal things: our own struggles with mortality, loss, and defining who we are in the world.

As filmmakers, we’re pretty much cavemen sitting around the campfire telling stories, only we use millions of dollars of technology to do it. By telling stories, we connect with each other. We talk about ourselves, our feelings, and what it is to be human.

Or we just make cartoons. Either way we try to have a good time, and we hope the audience does too.

Harrell Fletcher: Anything anyone calls art is art

Harrell Fletcher teaches in the art department at Portland State University. He has exhibited at the San Francisco Museum of Modern Art, the Berkeley Art Museum, Socrates Sculpture Park in New York, and in numerous other museums and galleries around the world. In 2002, Fletcher started Learning To Love You More, a participatory website with Miranda July, which they turned into a book, published in 2007. Fletcher is the recipient of the 2005 Alpert Award in Visual Arts.

The question of why I make art needs to be broken down a bit before I can answer.

First of all, what is art? The definition for art that I have come up with, which seems to work best for me, is that anything anyone calls art is art. This comes from my belief that there is nothing intrinsic about art. We cannot do a chemical analysis to determine if something is art or not. Instead, I feel like calling something “art” is really just a subjective way of indicating value—which could be aesthetic, cultural, monetary, and so on.

If we look at other kinds of creative activity we can see how various forms can all exist and be valid at the same time. I’ve made what I think of as art since I was a child, initially drawings, then photographs, paintings, videos, and so on. By the time I got to graduate school, I was not so interested in making more stuff, and instead started to move into another direction, which these days is sometimes called “Social Practice.”

This is sort of a confusing term since it is so new and undefined. In a broad way, I think of it as the opposite of Studio Practice—making objects in isolation, to be shown and hopefully sold in a gallery context. Most of the art world operates with this Studio Practice approach. In Social Practice, there is more of an emphasis on ideas and actions than on objects; it can take place outside of art contexts, and there is often a collaborative or participatory aspect to the work.

So back to the question why I make art. In my case, the projects that I do allow me to meet people I wouldn’t ordinarily meet, travel to places I wouldn’t normally go to, learn about subjects that I didn’t know I would be interested in, and sometimes even help people out in small ways that make me feel good. I like to say that what I’m after is to have an interesting life, and doing the work that I do as an artist helps me achieve that.

Kwame Dawes: An environment of empathy

Kwame Dawes, Ph.D., is Distinguished Poet in Residence at the University of South Carolina. He is the author of 13 books of verse, most recently Gomer’s Song, and a novel, She’s Gone, which won the 2008 Hurston/Wright Legacy Award for Best First Novel.

I write in what is probably a vain effort to somehow control the world in which I live, recreating it in a manner that satisfies my sense of what the world should look like and be like.

I’m trying to capture in language the things that I see and feel, as a way of recording their beauty and power and terror, so that I can return to those things and relive them. In that way, I try to have some sense of control in a chaotic world.

I want to somehow communicate my sense of the world—that way of understanding, engaging, experiencing the world—to somebody else. I want them to be transported into the world that I have created with language.

And so the ultimate aim of my writing is to create an environment of empathy, something that would allow the miracle of empathy to take place, where human beings can seem to rise out of themselves and extend themselves into others and live within others. That has a tremendous power for the human being. And I know this, because that is what other people’s writing does to me when I read it.

James Sturm: The reasons are unimportant

James Sturm is a cartoonist and co-founder of the Center for Cartoon Studies in White River Junction, Vermont. He is the author of the best-selling and award-winning graphic novel The Golem’s Mighty Swing, chosen as the Best Graphic Novel of 2000 by Time magazine. In 2007, his trilogy of historical graphic novels was collected in a volume entitled James Sturm’s America: God, Gold, and Golems.

I like the question “Why Do You Make Art?” because it assumes what I do is art. A flattering assumption. The question also takes me back to my freshman year of college, where such questions like “What is nature?” and “Is reality a wave or a circle?” were earnestly debated (usually late at night and after smoking too much weed).

Twenty-five years later I’d like to think I am a little more clear-headed regarding this question. Perhaps the only insight I’ve gained is the knowledge that I have no idea and, secondly, the reasons are unimportant. Depending on my mood, on any given day, I could attribute making art to a high-minded impulse to connect with others or to understand the world or a narcissistic coping mechanism or a desire to be famous or therapy or as my religious discipline or to provide a sense of control or a desire to surrender control, etc., etc., etc.

Whatever the reason, an inner compulsion exists and I continue to honor this internal imperative. If I didn’t, I would feel really horrible. I would be a broken man. So whether attempting to make art is noble or selfish, the fact remains that I will do it nevertheless. Anything past this statement is speculation. I would be afraid that by proclaiming why I make art would be generating my own propaganda.

KRS-One: Hip hop is beyond time, beyond space

Lawrence Krisna Parker, better known by his stage name KRS-One, is widely considered by critics and other MCs to be one of hip hop’s most influential figures. At the 2008 Black Entertainment Television Awards, KRS-One was the recipient of the Lifetime Achievement Award for his rapping and activism.

I was born this way, born to make art, to make hip hop. And I think I’m just one of the people who had the courage to stay with my born identity. Hip hop keeps me true to myself, keeps me human.

Hip hop is the opposite of technology. Hip hop is what the human body does: Breaking, DJing, graffiti writing. The human body breakdances, you can’t take that away. DJing is not technology; it’s human intelligence over technology: cutting, mixing, scratching. It’s physical. The manipulation of technology is what humans do, that’s art.

Or take graffiti writing. Put a writing utensil in any kid’s hand at age two or three. They will not write on a paper like they’ll later be socialized to do, they will write on the walls. They’re just playing. That’s human. Graffiti reminds you of your humanity, when you scrawl your self-expression on the wall. Hip hop helps us to see the things in the world in new ways.

That’s why hip hop has kept me young. It doesn’t allow you to grow up too fast. Hip hop is beyond time, beyond space. That’s why I make hip hop.

About the Authors

Jeremy Adam Smith

Uc berkeley.

Jeremy Adam Smith edits the GGSC’s online magazine, Greater Good . He is also the author or coeditor of five books, including The Daddy Shift , Are We Born Racist? , and (most recently) The Gratitude Project: How the Science of Thankfulness Can Rewire Our Brains for Resilience, Optimism, and the Greater Good . Before joining the GGSC, Jeremy was a John S. Knight Journalism Fellow at Stanford University.

Jason Marsh

Jason Marsh is the executive director of the Greater Good Science Center and the editor in chief of Greater Good .

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Phlub you KRS, u sold out a lomg long time ago.

Phuk Phase | 5:56 pm, September 27, 2010 | Link

Whether or not you like his music, KRS has always been about dropping knowledge as he portrays in this article.

New hip hop releases | 2:07 am, June 14, 2011 | Link

“If your slave master wasn’t a Christian, you wouldn’t be a Christian”- KrsOne

Dingle on that one!!!!!

Lionel | 3:57 am, June 14, 2011 | Link

why don’t you ask someone who isn’t famous or known why they make art?  i’m sure their answer(s) would be quite different from these.

anonymoose | 7:19 pm, September 7, 2012 | Link

♥ Why I Love Art ♥

I woke up in a euphoric state this morning!  I’m fairly certain nothing special happened while I was sleeping…it must have been yesterday’s day of art making.

This morning started with a bowl of cereal and a positive feeling like no other.  Some Cheerios and almond milk did the trick.  Maybe the fact that spring is underway.  I could just make out birds as they begin to celebrate the decline of winter.  Perhaps the still cold, wintery air was a fraction cleaner.  I had my normal amount of sleep last night ( about 7 ½ hours) but I feel so good today!  Why?

My Day of Art

Yesterday I reserved my entire day for art making.  I created a plan, and got immersed in my artistic endeavors for an entire day with absolutely no distractions!  Even my wife had plans to be out of the house all day until bedtime.   This was to be no regular day.  It was a day in which I had drawn up plans for what needed to be done.  I had an artistic to do list that was completely achievable but would require an entire day’s work to accomplish.

I’m an oil painter so my process of creating artworks have a rather lengthy process.  The process involves conceiving paintings, setting up still lifes, working out drawings, preparing canvases, painting, varnishing paintings and framing.  Come to think of it…man I work hard at my art!

Psyching Myself Up

Yesterday was perfect.  The evening before, I cleaned up my studio space and created an outline of all the things I would try to get to.  I made the list extra long, just-in-case and made a promise to myself not to worry if I didn’t accomplish all of the artistic tasks on the list.  In fact, I purposefully made the list slightly long so I knew there was no way to accomplish it all.  I didn’t want any non-artistic idle time on my hands.

The Art Studio

I was in my creative space transferring a drawing to canvas by 8 am.  Throughout the day I ended up stretching 3 canvases, composing a new drawing and completing the under-paintings for 2 paintings!  Most of the day was spent in silence.  I don’t mind silence and have a hard time contemplating why people always need “background noise ”. 

Silence is not intimidating at all, just a simple reminder to live absolutely in the moment and give my current task perfect, unwavering attention.

I worked on my artwork all day until 10pm last night.  I took two breaks.  One was to meet a friend for lunch and  to walk Henry (our dog).  This break lasted just under 2 hours because Henry and I enjoyed a 2 mile walk.  My second break from art-making was a 15 minute dinner break.  Honestly I couldn’t wait to get back to my paintings!  It’s all I thought about during my reheated vegetarian chili my wife cooked the night before.  It was delicious by the way!

Art Is Work

Don’t get me wrong.  I was on no vacation yesterday.  I worked my tail off.  After looking at the clock I now realize I worked on artwork for 12 solid hours.  I could have gone even longer but I had to get up early the next day so I really had to make myself quit at 10 pm and force myself to go to bed.

If I was working really hard and committed to and extremely long work day, why the heck did I feel so great today?  I suspect it has a lot to do with achieving a state of flow as Mihaly Csikszentmihalyi describes it.

Sometimes we refer to it as “being in the zone”.  Zones or Flow? Man I was there yesterday and rode that wave all day long.  Mihaly is a psychologist know for his lifelong study of creativity.   While his name is nearly impossible to spell his advice seems clear:  You can live a happy life though your daily immersion in something creative.

Creation vs. Consumption

I’m totally with you Mihaly.  I have come to find out that I am definitely happier creating things as opposed to consuming other’s creations.  I have found this to be true in all aspects of life with exception to food 😉  Although I don’t have the burning desire to get creative in the kitchen all the time it is something I’m certainly not opposed to.

My preference to create became evident as a child.  I choose playing sports over watching them and often preferred building with my Legos over watching television.  Now if I can only turn my creations into a healthy salary I think I will have found the secret door to my life’s own paradise!  Right now I do earn a fairly good chunk of change through my artistic endeavors but it’s not quite enough to quit my day job.

Would you trade in your day job for a chance to work full-time as an artist even though you may have to work 10 hours a day, 6 days a week at it?  After waking up this morning with a clean slate and a rejuvenated spirit I’m tempted to say “yes”.

What do you think?

yes! I would rather work until way past my and my kids’ bedtime ,if I could earn a fraction of what I make as a full-time elementary school teacher. Most teachers I know are not wealthy by anybody’s standards, so that is saying a lot about my love of creating. Fantastic article. Thank you.

Thank you for your kind words Jennifer! Unfortunately making money in the arts is extremely difficult, although not impossible. But one has to come to terms with which direction she wants to go. Pursue art for arts sake or pursue arts as a business. There’s no shame in either, it’s a matter of preference. (I choose the latter). The key is knowing yourself and establishing routines. Keep Producing 🙂 – John

I love how you give me a reason to loooove art! I would do it forever if I could!!!

Don’t stop… keep enjoying your creations!

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Essays About Art: Top 5 Examples and 9 Prompts

Essays about art inspire beauty and creativity; see our top essay picks and prompts to aid you.

Art is an umbrella term for various activities that use human imagination and talents. 

The products from these activities incite powerful feelings as artists convey their ideas, expertise, and experience through art. Examples of art include painting, sculpture, photography, literature, installations, dance, and music.

Art is also a significant part of human history. We learn a lot from the arts regarding what living in a period is like, what events influenced the elements in the artwork, and what led to art’s progress to today.

To help you create an excellent essay about art, we prepared five examples that you can look at:

1. Why Have There Been No Great Women Artists? by Linda Nochlin

2. what is art by writer faith, 3. my art taught me… by christine nishiyama, 4. animals and art by ron padgett, 5. the value of art by anonymous on arthistoryproject.com, 1. art that i won’t forget, 2. unconventional arts, 3. art: past and present, 4. my life as an artist, 5. art histories of different cultures, 6. comparing two art pieces, 7. create a reflection essay on a work of art, 8. conduct a visual analysis of an artwork, 9. art period or artist history.

“But in actuality, as we all know, things as they are and as they have been, in the arts as in a hundred other areas, are stultifying, oppressive, and discouraging to all those, women among them, who did not have the good fortune to be born white, preferably middle class, and above all, male. The fault lies not in our stars, our hormones, our menstrual cycles, or our empty internal spaces, but in our institutions and our education–education understood to include everything that happens to us from the moment we enter this world…”

Nochlin goes in-depth to point out women’s part in art history. She focuses on unjust opportunities presented to women compared to their male peers, labeling it the “Woman Problem.” This problem demands a reinterpretation of the situation’s nature and the need for radical change. She persuades women to see themselves as equal subjects deserving of comparable achievements men receive.

Throughout her essay, she delves into the institutional barriers that prevented women from reaching the heights of famous male art icons.

“Art is the use of skill and imagination in the creation of aesthetic objects that can be shared with others. It involves the arranging of elements in a way that appeals to the senses or emotions and acts as a means of communication with the viewer as it represents the thoughts of the artist.”

The author defines art as a medium to connect with others and an action. She focuses on Jamaican art and the feelings it invokes. She introduces Osmond Watson, whose philosophy includes uplifting the masses and making people aware of their beauty – he explains one of his works, “Peace and Love.” 

“But I’ve felt this way before, especially with my art. And my experience with artmaking has taught me how to get through periods of struggle. My art has taught me to accept where I am today… My art has taught me that whatever marks I make on the page are good enough… My art has taught me that the way through struggle is to acknowledge, accept and share my struggle.”

Nishiyama starts her essay by describing how writing makes her feel. She feels pressured to create something “great” after her maternity leave, causing her to struggle. She says she pens essays to process her experiences as an artist and human, learning alongside the reader. She ends her piece by acknowledging her feelings and using her art to accept them.

“I was saying that sometimes I feel sorry for wild animals, out there in the dark, looking for something to eat while in fear of being eaten. And they have no ballet companies or art museums. Animals of course are not aware of their lack of cultural activities, and therefore do not regret their absence.”

Padgett recounts telling his wife how he thinks it’s unfortunate for animals not to have cultural activities, therefore, can’t appreciate art. He shares the genetic mapping of humans being 99% chimpanzees and is curious about the 1% that makes him human and lets him treasure art. His essay piques readers’ minds, making them interested in how art elevates human life through summoning admiration from lines and colors.

“One of the first questions raised when talking about art is simple — why should we care? Art, especially in the contemporary era, is easy to dismiss as a selfish pastime for people who have too much time on their hands. Creating art doesn’t cure disease, build roads, or feed the poor.”

Because art can easily be dismissed as a pastime, the author lists why it’s precious. It includes exercising creativity, materials used, historical connection, and religious value. 

Check out our best essay checkers to ensure you have a top-notch essay.

9 Prompts on Essays About Art

After knowing more about art, below are easy prompts you can use for your art essay:

Is there an art piece that caught your attention because of its origin? First, talk about it and briefly summarize its backstory in your essay. Then, explain why it’s something that made an impact on you. For example, you can write about the Mona Lisa and her mysterious smile – or is she smiling? You can also put theories on what could have happened while Leonardo da Vinci painted the Mona Lisa.

Rather than focusing on mainstream arts like ballet and painting, focus your essay on unconventional art or something that defies usual pieces, such as avant-garde art. Then, share what you think of this type of art and measure it against other mediums.

How did art change over the centuries? Explain the differences between ancient and modern art and include the factors that resulted in these changes.

Are you an artist? Share your creative process and objectives if you draw, sing, dance, etc. How do you plan to be better at your craft? What is your ultimate goal?

To do this prompt, pick two countries or cultures with contrasting art styles. A great example is Chinese versus European arts. Center your essay on a category, such as landscape paintings. Tell your readers the different elements these cultures consider. What is the basis of their art? What influences their art during that specific period?

Like the previous prompt, write an essay about similar pieces, such as books, folktales, or paintings. You can also compare original and remake versions of movies, broadway musicals, etc.

Pick a piece you want to know more about, then share what you learned through your essay. What did the art make you feel? If you followed creating art, like pottery, write about the step-by-step process, from clay to glazing.

Visual analysis is a way to understand art centered around what the eyes can process. It includes elements like texture, color, line, and scale. For this prompt, find a painting or statue and describe what you see in your essay.

Since art is a broad topic, you can narrow your research by choosing only the most significant moments in art history. For instance, if you pick English art, you can divide each art period by century or by a king’s ruling time. You can also select an artist and discuss their pieces, their art’s backstory, and how it relates to their life at the time.

If you are interested in learning more, check out our essay writing tips !

Maria Caballero is a freelance writer who has been writing since high school. She believes that to be a writer doesn't only refer to excellent syntax and semantics but also knowing how to weave words together to communicate to any reader effectively.

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1.4: Why do We Make Art?

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• Pamela Sachant, Peggy Blood, Jeffery LeMieux, & Rita Tekippe
• University System of Georgia via GALILEO Open Learning Materials

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Some of the earliest evidence of recognizable human activity includes not only practical things like stone tools and fire pits, but also decorative objects used for personal adornment. For example, these small beads made by piercing sea snail shells, found at the Blombos Cave on the southeastern coast of South Africa, are dated to the Middle Stone Age, 101,000-70,000 BCE. (Figure 1.19) We can only speculate about the intentions of our distant ancestors, but it is clear that their lives included the practice of conceiving and producing art objects. One thing we appear to share with those distant relatives is the urge to make art.

Figure 1.19 Blombos Cave Nassarius kraussianus marine shell beads and reconstruction of bead stringing, Author: Marian Vanhaeren and Christopher S. Henshilwood, (CC BY-SA 3.0)

A culture can be defined as a group of people who agree about what is important. Today many different human cultures and sub-cultures co-exist; we can find in them a broad range of ideas about art and its place in daily living. One main goal of Australian Aboriginal artists, for example, is to “map” the world around them. (Figure 1.20) In this painting on bark, pictorial symbols tell the story of the great hunter snake in colors such as red for desert sand and yellow for the sun. (Figure 1.21) In a similar way, though with different materials, Buddhist sand paintings known as mandalas present a map of the cosmos. These circular diagrams also represent the relationship of the individual to the whole and levels of human awareness. (Figure 1.22)

Figure 1.20 Australian Aboriginal “Map” Symbols, Author: Jeffrey LeMieux, (CC BY-SA 4.0)

Figure 1.21 Sand Painting, Author: Sailko, (CC BY-SA 3.0)

Figure 1.22 Wheel of Time Kalachakra Sand Mandala, Artist: Losang Samten, Author: Steve Osborne, (CC BY-SA 3.0)

The need to make art can be divided into two broad categories: the personal need to express ideas and feelings, and the community’s needs to assert common values. In the following sections, we’ll look at some of these motivations to more clearly understand and identify artist intent in the works of art that we encounter.

We should recognize that every person has lived a unique life, so every person knows something about the world that no one else has seen. It is the job of artists today to tell us about what they have come to know—individually or as part their community—using the art material or medium most suited to their abilities. While copying the works of others is good training, it is merely re-working what has already been revealed. Originality, however, is more highly valued in contemporary art. Georgia O’Keeffe (1887-1986, USA) explained her view on this matter when she wrote: (Figure 1.23)

It was in the fall of 1915 that I first had the idea that what I had been taught was of little value to me except for the use of my materials as a language—charcoal, pencil, pen and ink, watercolor, pastel, and oil. I had become fluent with them when I was so young that they were simply another language that I handled easily. But what to say with them? I had been taught to work like others, and after careful thinking I decided that I wasn’t going to spend my life doing what had already been done. . . . I decided I was a very stupid fool for not to at last paint as I wanted to and say what I wanted to when I painted.5

5 O’Keeffe 1976, unpaginated.

Figure 1.23 Series 1, No. 8, Artist: Georgia O’Keeffe, (Public Domain, "Prosfilaes")

1.5.1 The Personal Need to Create

Many works of art come out of a personal decision to put a feeling, idea, or concept into visual form. Since feelings vary widely, the resulting art takes a wide range of forms. This approach to art comes from the individual’s delight in the experience. Doodling comes to mind as one very basic example of such delight. Pollock’s Abstract Expressionist works, also known as action paintings, are much more than doodles, though they may resemble such on the surface. (Autumn Rhythm-Number 30, Jackson Pollock: http://www.metmuseum.org/art/collection/search/488978?=&imgno=0&tabname=online-resources ; Number 10 , Jackson Pollock: http://www.wikiart.org/en/jackson-pollock/number-10-1949 ) They were the result of many levels of artistic thought but on a basic level were a combination of delight in the act of painting and in the personal discovery that act enabled.

Some art is intended to provide personal commentary. Artworks that illustrate a personal viewpoint or experience can fulfill this purpose. Persepolis , a graphic novel by Marjane Satrapi (b. 1969, Iran) published in 2000, recounts her experiences and thoughts during the 1979 Iranian revolution, and is an example of such personal commentary. ( Keys to Paradise : https://imaginedlandscapes.files.wordpress.com/2014/02/pi-102.jpg ) Satrapi is a leading proponent of the graphic novel, a new approach to art making. In an ironic critique of how different parts of Iranian society were affected by war, Satrapi compares the contorted figures of Iranian youth dying in a combat zone explosion with the dance movements at her high school celebration.

Artworks can be created thus as a means of exploring one’s own experience, a way of bringing hidden emotions to the surface so that they may be recognized and understood more clearly. The term for this process is catharsis .

Cathartic works of art can arise from perceptions of grief, good, evil, or injustice, as in The Raft of the Medusa by Théodore Géricault (1791-1824, France), which was an indictment of the French government of his day following the sinking of a ship. (Figure 1.24) When Whistler, on the other hand, became a proponent of “Art for art’s sake,” he was rejecting outside influences such as contemporary artistic and social standards in order to “purify” art of external corruption. (see Figure 1.18) The idea of removing influence from the creation of art is a modern one. Much of the art made before the nineteenth century was produced with the support and under the direction of religious, political, and cultural authorities in the larger community.

Figure 1.24 The Raft of the Medusa, Artist: Jean Louis Théodore Géricault, (Public Domain)

1.5.2 Communal Needs and Purposes

Across history and geography, we see religious and political communities that remain stable despite constant pressure from both internal and external sources. One way in which communities maintain stability is in the production of works of art that identify common values and experiences within that community and thus bring people together.

Architecture, monuments, murals, and icons are visible guides to community participation in the arts and often use image-making conventions. A convention is an agreed upon way of thinking, speaking, or acting in a social context. There are many kinds of conventions, including visual conventions. A good example in visual art would be a conventional sense of direction. In Western cultures, text is generally read left to right. Therefore, when they look at artwork, Western viewers tend to “enter” a picture on the upper left and proceed to the right. Objects that appear on the left side of an image are thought to be “first,” while ones that appear on the right are thought to be “later.” Since Asian texts follow a different convention, and tend to be read right to left, an Asian viewer would unconsciously assume the opposite.

Architecture, especially of public buildings, is an expression of a community’s values. Courthouses, libraries, town halls, schools, banks, factories, and jails are all designed for community purposes, and their shapes become strongly associated with their function: the architectural shapes become conventions. The use of older styles of architecture can be as references to the values of previous cultures. In the United States, for example, many government buildings are designed with imposing stone facades using classical Greek and Roman columns that symbolize strength and stability. Federal government buildings such as the United States Capitol and the Supreme Court (Figure 1.25) were designed so that the community would associate ancient Greek and Roman ideals of virtue and integrity with the activities inside those more modern buildings.

Figure 1.25 U.S. Supreme Court Building, Photographer: US Government Employee, (Public Domain)

Many twentieth-century architects, however, have followed the guiding principle of American architect Louis Sullivan (1856-1924, USA), that “form follows function.” In his design of the Bauhaus, Walter Gropius (1883-1969, Germany) rejected superfluous decoration and focused instead on the efficient and functional use of space and material. (Figure 1.26) The leading school of art, craft, and architecture in Germany from 1919-1933, the teachings of the Bauhaus, or “construction house,” have strongly influenced domestic and industrial design internationally since that time.

Figure 1.26 The Bauhaus Building in Dessau, Germany, (Public Domain, "Mewes")

Communities can remind citizens of public virtues by commemorating the individuals who displayed those qualities in monuments . Since ancient times, they have commonly been statues of such individuals placed on pedestals, columns, or inside architecture. The Equestrian Statue of Bartolomeo Colleoni by Andrea del Verrocchio (1435-1488, Italy) is a good example of this type of monument. (Figure 1.27) Created for the city of Venice, Italy, during the Italian Renaissance, the sculpture of Colleoni on horseback shows him as the bold and victorious warrior he was. But The Burghers of Calais by Auguste Rodin (1840-1917, France) and Vietnam War Memorial by Maya Lin (b. 1959, USA) are monuments that violate that longstanding norm. Rodin placed the burghers, or leading citizens, on ground level to humanize the six men who offered themselves as sacrifices to save their city; he did so in order to bring their internal struggles down to the viewer’s eye level. (Figure 1.28) Lin’s memorial is below ground level, and displays the names of the approximately 58,000 Americans who died in the Vietnam War. (Figure 1.29) These choices reflect the belief that the Vietnam War was initially conducted “beneath the surface,” that is, unknown to most Americans, and to remind visitors that its cost was paid by real individuals, not anonymous soldiers. These two works of art are unconventional and original in their conception and execution.

Figure 1.27 Colleoni on Horseback, Artist: Andrea del Verrocchio, (CC BY-SA 3.0, "Waysider1925")

Figure 1.28 Burghers of Calais, Artist: Auguste Rodin, (CC BY 3.0, "Razimantv”)

Figure 1.29 Vietnam Veterans Memorial Wall, Artist: Maya Lin, (CC BY-SA 3.0, "Mariordo”)

Since ancient times, murals , paintings on walls, have been created in both public and private places. Ancient Egyptians combined images with writing in wall paintings to commemorate past leaders. Some of these murals were intentionally erased when the leader fell out of favor. Roman murals were more often found inside homes and temples. The Roman mural located in a bedroom of the Villa of P. Fannius Synistor was unearthed in Pompeii, Italy. (Figure 1.30) It depicts landscape and architectural views between a row of (painted) columns, as if viewed from inside the villa , or country house.

Figure 1.30 Cubiculum (bedroom) from the Villa of P. Fannius Synistor at Boscoreale, Author: Rogers Fund, (OASC, Met Museum)

The Last Supper by Leonardo da Vinci (1452-1519, Italy, France) and the Sistine Chapel ceiling by Michelangelo (1475- 1564, Italy) are murals from the Italian Renaissance. They were created for a wall in a refectory, or dining hall, of a monastery (Figure 1.31) and for the ceiling of the Pope’s chapel. (Figure 1.32) Both depict crucial scenes in the teachings of the Catholic Church, the leading European religious and political organization of the time. Because many people at the time were illiterate, images played an important role in educating them about their religious history and doctrines.

Figure 1.31 The Last Supper, Artist: Leonardo da Vinci, (Public Domain, "Thebrid")

Figure 1.32 The Ceiling of the Sistine Chapel, Artist: Michelangelo, Author: Patrick Landy, (CC BY 3.0)

More modern examples of murals can be found around the world today. Diego Rivera (1886-1967, Mexico) was a world-renowned artist who executed large-scale murals in Mexico and the United States. His Detroit Industry murals consist of twenty-seven panels originally installed at the Detroit Institute of Arts. (Figure 1.33) The two largest panels depict workers manufacturing a V8 engine at the Ford Motor Company factory. Other smaller panels show advances in science, technology, and medicine involved in modern industrial culture, portraying Rivera’s belief that conceptual thinking and physical labor are interdependent. These works are now considered a National Landmark. The Great Wall of Los Angeles designed by Judith Baca (b. 1946, USA) and executed by hundreds of community members is thirteen feet high and runs for more than one half mile through the city. ( The Great Wall of Los Angeles , Judith Baca: http://sparcinla.org/wp-content/uploads/2012/12/ great-wall_m.jpg ) Its subject is the history of Southern California “as seen through the eyes of women and minorities.”6 The mural is part of a larger push in Los Angeles to adorn public spaces with murals that inform and educate the populace.

Figure 1.33 Detroit Industry, North Wall, Artist: Diego Rivera, (Public Domain, “Cactus.man”)

The term icon comes from the Greek word eikon, or “to be like,” and refers to an image or likeness that is used as a guide to religious worship. The holy figures depicted in icons are thought by believers to have special powers of healing or other positive influence. An icon can also be a person or thing that symbolically represents a quality or virtue. A good example is the image of St. Sebastian. St. Sebastian was a captain of the Roman guard who converted to Christianity and was sentenced to death before a squad of archers. (Figure 1.34) He survived his wounds, and early Christians attributed this miracle to the power of their religion. (He was later stoned to death.) In the late Middle Ages during widespread plague in Europe, images of St. Sebastian were regularly commissioned for hospitals because of the legend of his miraculous healing and the hope that the images would be curative.

Figure 1.34 The Martyrdom of St. Sebastian, Artist: Giacinto Diana, (Public Domain)

An example of a non-religious or secular icon might be the bronze bust of the famous football coach Knute Rockne at Notre Dame University in Indiana. (Figure 1.35) The nose of the bronze sculpture is bright gold because many consider it good luck to rub it, so it receives constant polishing by students before exams.

Figure 1.35 Knute Rockne, Artist: Nison Tregor, Author: Matthew D. Britt, (CC BY-SA-NC 3.0)

We have touched only briefly on the questions of what art is, who an artist is, and why people make art. History shows us people have defined art and artists differently in various times and places, but that people everywhere make art for many different reasons. And, these art objects share a common purpose: they are all intended to express a feeling or idea that is valued either by the individual artist or by the larger community.

10 Reasons for the Importance of Art (With Benefits to You)

By: Author Paul Jenkins

Posted on Published: May 2, 2022  - Last updated: September 26, 2023

Categories Art , Community , Creativity , Education , Society

We all know that art is important, but do we really know why? Here are ten reasons why art is so important in our lives. Whether it’s painting, drawing, sculpture, or even just appreciating beautiful landscapes, art can truly touch our hearts and change our lives for the better.

1. Art Is a Form of Expression

Personal creative expression.

One of the best things about art is that it’s a powerful form of self-expression. It’s an outlet in which you can share your experiences, thoughts, feelings and other aspects of your life. People have been using art to express themselves since prehistoric times, and the fact that they continue to do so today shows how important this function really is.

Art can reflect who you’re as an individual and what you stand for without you having to say anything.

Cultural Expression and Experience

Art can be understood from different cultural perspectives and has different meanings depending on the culture it comes from.

It can help us relate to each other by understanding the differences between our cultures through their traditions, customs, and art forms, which helps us become more tolerant and see things from a different perspective.

Historical Expression and Experience

Art history and art education are important parts of any educational or self-educational curriculum.

Through paintings like “Town Clerk” or poems that describe life in wartime, like “The Charge of the Light Brigade,” we can go back in time and see what life was like in the past.

In this way, we can gain a deeper understanding of our history by putting ourselves in the shoes of the people who lived during that time and learn how they lived their lives on a daily basis – good or bad!

2. Art Can Improve Your Social Skills

Art can help you learn to work with others. Whether you’re working on a group project at school or an individual piece of art, it’s important to know how to collaborate and get along with others.

For example, if you’re painting a mural, it’s a good exercise to listen to your classmates’ suggestions. You may have wanted to use only cool colors, but one of your friends may think warm colors would be better. This is a good exercise to learn how to compromise so everyone can be happy with the final product!

Even though art may not come as easily to some students as other subjects like math or reading, there’s no doubt about how important art is to all children and students.

3. Art Helps You Cope With Anxiety and Depression

The experience of creating art can help you cope with anxiety and depression. It’s a way to express your emotions without using words. That means it can be especially helpful for young children because they’re still learning how to put their feelings into words.

Art therapy can also be helpful for people whose anxiety or depression keeps them from talking about their feelings with other people. In order to create something, you have to focus on the work in front of you and what you’re doing at that moment, not on the things that are worrying you.

4. Arts Are a Fun and Creative Way to Stay Active

Painting, making music, dancing, or even crafting – all require you to move your body freely. The most important thing is that these arts are usually fun and bring joy.

If you’re more interested in painting, dancing, and other arts, don’t worry, because doing them will stretch your body well, which will help you stay active.

You can join a group or club that’s to do with art and actively participate in it. You can enroll in an art class or even participate in art competitions if you’re a competitive person. An active life is never boring, so it’s important that you engage in a creative activity that keeps your mind and body busy, such as art.

5. Art Is a Great Way to Relieve Stress

When you lose yourself in the moment, the art you do can help you feel less stressed and more positive. For example, if you do pottery at school, you can forget your worries and focus on what you’re doing.

It can also help you feel less distracted and more relaxed and focused.

• Art is a great way to relieve stress.
• It helps you relax and get into a calm state of mind.
• Suppose you’re feeling stressed, anxious, or down. It can be hard to find the good things in life, but if you take time out from your problems and focus on your art, you can forget about anything bad and blow off some steam!

6. Art Helps You Express Your Emotions and Feelings

With art, you can express your emotions, feelings, and thoughts. It’s a very good means of communication when you cannot express yourself in words.

When you sit down to paint to express your inner self, the blank canvas gives you that freedom and helps you put your inner feeling into words or sentences. You’ll be surprised by the end result.

For example, if you love someone passionately but you aren’t able to find the right words to express the emotion, painting is a great way to do it. You can paint anything on the canvas, such as flowers or heart shapes in different bright colors that express your love for that person.

Even if you want to express your sadness or happiness through art, it works very well because it works wonders in connecting people and sending a message across language, cultural or age barriers.

7. Art Improves Critical Thinking Skills, Brain Speed, and Memory

Creative and critical thinking are important skills to have in the 21st century. Artistic work encourages you to accept more ideas, question more assumptions, and look at things differently.

Learning art helps you exercise your brain, which makes it work better. Taking art classes brings out other aspects of your personality that weren’t there before.

Learning artistic skills boosts your confidence by showing you the progress you can make with regular practice and determination.

By creating artwork, or having an arts education, you can express yourself in the medium of your choice (photography, sculpture, graphic design, etc.) and let others know what you’re thinking without using words.

8. Participating in the Arts Can Help Aging-Related Diseases

Studies have shown that participation in arts activities can help prevent or slow the progression of age-related diseases.

Researchers have found that participation in the arts:

• reduces depression and anxiety
• improves cognition
• fosters a stronger sense of identity
• reduces boredom

among many other beneficial effects.

There’s also evidence that participation in arts activities benefits people with Alzheimer’s disease.

Studies have shown that music reduces agitation, and provides a way to connect for those who suffer from verbal communication challenges as Alzheimer’s progresses.

9. People Who Learn the Arts Improve Their Visual and Spatial Ability, Which Has Been Linked to Improved Academic Performance and Academic Achievement

One is never too old to have a childhood.

Children and young people who participate in art classes also get a much-needed outlet for their imagination and creativity.

It’s even been shown that children who participate in art classes have better social skills.

Some types of art and arts education to consider are:

• Contemporary art
• Creative art
• Performing art
• Setting up an art project

10. Art Creates a Sense of Community

Art can be used to bring together people from different backgrounds, cultures, and beliefs. It’s a powerful tool for promoting communication and understanding.

Art allows people to talk about things they cannot normally talk about. It provides a platform to work through sensitive issues or break down barriers between people from different communities.

Art can challenge the status quo and address difficult issues that those in power might prefer to sweep under the rug.

Art has always been used as a powerful tool for social change, highlighting injustices and encouraging people to work together for a more just world. Art has been used as an effective form of protest against racial discrimination, violence against women and children, and war and poverty.

The Purpose of Art Is Much More Than Simply the Creation of Something Beautiful

The purpose of art is much more than just creating something beautiful.

Art and craft can inspire future generations, educate, and express, but it can also heal, criticize, and question. Art can help us understand each other, as well as our past. It’s a tool to build bridges between people of different cultures and ages. Art makes you think about what you see, feel, or even hear. With art, there’s no wrong and no right – it all comes down to your personal interpretation and taste.

Art can be used to:

• Inspire the world around you , if only to make your life easier and more beautiful. Many artists have made a living through their art and have been successful in doing so. They’ve inspired new generations with their work, created new ways of looking at the world, and given meaning to everyday life.
• Critique culture and society as artists often do. By taking a problem in our world and creatively addressing it, artists can make their voices heard without being too direct or preachy. Art provides a space where people from different backgrounds and perspectives can come together because they’ve something in common: what they see on canvas or paper.
• It educates people about issues that affect them every day but aren’t always at the forefront of their minds, such as how society treats women and minorities. Even in ancient times, art was used for educational purposes, depicting religious figures or telling stories from mythology; today, we see this kind of information in pop culture, too, such as in movies or television shows!
• It can heal us emotionally when we feel depressed because we’re surrounded by so much negativity all day – art can be an outlet where creativity can flourish.
• Employ people in creative industries
• Engage people in a new and productive creative process

The Gillnetter

The student news site of Gloucester High School in Gloucester, MA

• Math MCAS on 5/21 and 5/22!
• Senior Arts Night 5/19!
• Student Art Festival on 5/18!
• Vocational Awards Night 5/9!
• Academic Recognition Night 5/30!
• Term 4 progress reports on 5/8!

Why I love to draw

Artwork by Gianna Cabral

GIANNA CABRAL , Staff Writer February 17, 2017

Whether you like cooking or simply playing sports, everyone has a hobby they enjoy doing in their free time. We all need an outlet to let us forget about the world for a while and for me that escape is drawing.

Typically there’s a misconception that you have to be good at drawing in order to enjoy it, but all you really need is a creative mind to be an artist. People can be very judgemental towards one another, but the best part about being an artist is that there is no right or wrong in a piece of art that you have created.

One thing I love about drawing is that you can tell any story you want through your artwork. I find it so fascinating that everyone’s perspective is completely different from one another, and that shows in their artwork. I love to draw pictures that people can interpret in whatever way they choose.

I also love to draw because it gives me a sense of freedom. When I pick up a pencil and draw, I have the ability right at the tip of my fingers to create and destroy anything my heart desires, and that feeling makes me feel so powerful.

Also, as someone who’s not entirely good at putting my feelings into words, drawing enables me to express my emotions without having to speak. Drawing something that represents how I feel allows me to show how I’m feeling when I can’t seem to get the words to come out of my mouth.

Drawing helps me drown out all of the negativity in life when it gets too much. When I have a bad day and don’t want to get out of bed, I like to create art. When I feel sad or angry and don’t totally understand why, putting my thoughts onto a piece of paper through a drawing helps me understand my emotions a little bit better. Even though we all go through sadness and pain, for me creating art allows me to take all of those awful emotions and create something beautiful out of it.

Not only does drawing make me feel better temporarily, but it gives me so much strength, optimism, and confidence that I can do anything. I feel like drawing gives me a purpose in this world. When I create art, it gives me hope that someone might see my artwork and make a connection to it. I could make someone feel empowered simply because they can relate to my artwork. Who knows, maybe one day you’ll see one of my pieces of art and feel inspired, too.

Gianna Cabral is a senior at Gloucester High School and third year Gillnetter staff writer. She can be found creating art or attending concerts. During...

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John Landry • Sep 19, 2022 at 3:59 am

My art is essentially a mini-vacation. Whatever I put down, I visit it every day. It’s some place where I can escape for a couple of minutes. But, like I said, it’s a mini-vacation for me.

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Home Essay Samples

Essay Samples on Art

While it may seem easy to compose essays about art, it’s not really so because you have to offer background information in your introduction part and explain why some exhibition or a school of thought is important. This should go to your first paragraph because your purpose is to inspire your readers and provide enough background information. When you already have a prompt that must be followed, determine what kind of essay must be written. It can be a descriptive essay, which is great for a description of the works of art or photography. Some other cases may require working with an explanatory tone where you have to explain why an artist has chosen certain palettes or what has been an inspiration. See various free art essay examples below for inspiration. It also helps to learn how to structure your writing and implement quotes or footnotes that are used to highlight the images. Remember to focus on the ways how to cite images and multimedia elements, depending on the chosen style. Your writing should address every image that you have by checking twice with the grading rubric to ensure that you use the sources that may have already been specified.

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Aleta Jacobson Designs

Artist, Illustrator, Instructor

10 Things I love About Making Art

When I started thinking about a new blog post, I knew I wanted to stay with my focus on art, inspiration, the creative process, and what helps me become more creative. What came up is what makes me an artist and what I have discovered in my art life and my journey. With all this in mind, here are the 10 things I love about making art. I hope you find inspiration here and explore your art journey and why you create.

I love color. Brights, lights, neutrals, I’ll take them all. I can’t say I have a favorite color because I love all color. Even colors that some might call dull and muted excite me. To me, color is one of the main Elements of Art that we need to understand.

You can’t paint or draw or create much of anything without great shapes. Again, shape is another Element of Art that needs attention. Become a shape maker. Good shapes = good paintings.

3. Messiness

The messiness of creating art is so satisfying to me. I remember my childhood, spending time finger painting and squeezing clay between my fingers. The messiness of art is a lot of fun, unless you drop a big jar of black gesso on your studio floor. That’s a whole other story.

I love to play. Playing with ideas and inspiration, getting excited as inspiration takes flight in my mind, then getting it all down on the canvas or paper. I get lost in the planning and painting. I can get an idea from sorting through my supplies like stencils, inks, and Caran D’Ache watercolor crayons. I like to scribble with the crayons, then drop puddles of water and smush that around with a brush. Many of my paintings have started with a scribble. Many of my collages have started with a scrap of paper.

5. Mindfulness 

I love the many the sensations that come with creating, if you tune into your practice with mindfulness. Besides an over-all feeling of bliss and peace, there’s something that I call “falling in.” The world drops away and I am in my zone. Another post on this later. 

6. Art Therapy 

I love that I can paint away the pain. I was in an auto accident back in the mid 90’s and had major neck injuries. I had to take too many anti-inflammatory pills that killed my stomach. I found that when I created art, the pains went away. Less pills, more art. Art saved me and I will always be grateful I dived deep back into my art. When I was in another accident last year, I threw myself into my art with every spare minute I had. I healed much quicker with the aid of art. 

7. Sharing 

I love sharing my discoveries, tips, and tricks with my students and other artists. I love to see my students light up when they try something I’ve shared and it helps them make better art. Their smiles make me smile.

8. Failures

You might think that this one is weird, but I love to watch a painting go wrong. To explain, I have had ideas about a new painting and then it didn’t work out. I used to get upset. But when I realized that what I thought was going wrong was actually a new opportunity, I found that those paintings came out better than what I had originally thought.

9. Fresh Paint

Nothing beats squeezing new fresh paint out of the tube and putting it directly onto canvas, paper, or into a pallet. The light bounces off the paint and it screams for a brush to dig in and push it across the canvas or paper. This is so exhilarating. 

10. Epiphanies

I love that epiphany when you know a piece is done. Artists sometimes get so wrapped up in the process, (and I get that), they go right pass the ending.I try and stop when I think I am almost done and really take a look at the art. Am I close to being done? Will I miss that epiphany? I lay the brush down and let out a sigh. I take a minute and let the painting breath. Sometimes, I let it set for days, always catching a glimpse of until I have that feeling: it’s done.  

I hope that you will look at what you love about creating and let me know if any of my 10 things lined up with what you love about creating. Leave me a comment and let me know. Happy creating.

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Published by Aleta Jacobson

View all posts by Aleta Jacobson

Fun to read. Thanks for sharing. I’m the same about writing. I often let my writings sit overnight and let the light of a new day tell me if it is done or even let the RE-reading tell me how I can make it better.

I love this post and all the different ways you love making art. So many lessons here to mull over!

Thank you for fresh air breathed into my art supplies !!!

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Why I Love Arts and Crafts Nurturing the Benefits of Arts and Crafts

Why I love arts and crafts is a question with countless answers. It’s a world where imagination thrives and possibilities are boundless. Join me on a journey of self-expression, inspiration, and pure joy as we delve into the wonders of artistic creation.

Let’s explore the magic together and discover why arts and crafts hold a special place in our hearts. From painting vibrant masterpieces to crafting intricate designs, there’s no limit to the beauty we can bring to life.

So, embrace your creativity, ignite your passion, and let the transformative power of arts and crafts guide you on an enchanting path. Why I love arts and crafts, it’s time to unleash your inner artist and embark on an extraordinary adventure of artistic discovery.

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Why I Love Arts and Crafts?

Arts and crafts have always held a special place in my heart. The joy of creating something with my own hands is unparalleled. But it’s not just the final product that makes me love arts and crafts; it’s the whole process and the numerous benefits that come with it.

What are Arts and Crafts?

Arts and Crafts is a creative movement that took shape in the late 19th century. It celebrates the beauty of handmade craftsmanship and embraces the use of natural materials. This movement encompasses a wide range of artistic disciplines, including architecture, furniture, ceramics, textiles, and more.

At its core, Arts and Crafts values the skills of skilled artisans and promotes the creation of functional and aesthetically pleasing objects.

Benefits of art and crafts for adults

Engaging in art and craft activities as an adult has numerous benefits. It helps to improve cognitive function and memory, as well as enhance problem-solving skills. As we delve into the world of art and crafts, we also experience a sense of relaxation and inner peace, reducing stress levels and promoting overall well-being.

How art and crafts improve motor skills

Engaging in art and crafts requires the use of our hands and fingers, which in turn helps to improve fine motor skills. Whether we are drawing, painting, or sculpting, the intricate movements involved help to strengthen our hand-eye coordination and dexterity. This is especially beneficial for children as it aids in their overall physical development.

Enhancing self-esteem through art and crafts

Creating something unique and beautiful through art and crafts can boost our self-esteem. It gives us a sense of accomplishment and allows us to take pride in our creations. Moreover, the creative process allows us to express our emotions and thoughts, helping us to develop a deeper understanding of ourselves and our capabilities.

What Are the Creative Benefits of Arts and Crafts?

Engaging in arts and crafts activities provides numerous creative benefits. It allows individuals to explore their imagination, develop problem-solving skills, and express themselves artistically, fostering personal growth and self-expression.

Additionally, arts and crafts promote innovative thinking, encourage experimentation, and inspire a sense of accomplishment and satisfaction.

Benefits of Arts and Crafts

Art and crafts are inherently creative activities that stimulate our imagination and foster originality. They serve as a means of self-expression and exploration, allowing us to unleash our inner artist.

By experimenting with different art materials and techniques, we can unlock hidden talents and develop new skills.

How art and crafts help promote creativity

Engaging in art and crafts helps to promote creativity by encouraging us to think outside the box and explore new ideas. It allows us to break free from conventional thinking and discover innovative ways of expressing ourselves.

Through art, we can tap into our subconscious mind and let our creativity flow freely.

Reducing stress through art and crafts

Art and crafts have a therapeutic effect on our minds and bodies. When we engage in creative activities, our focus shifts from daily stressors to the present moment. This act of mindfulness helps to reduce anxiety and promote relaxation.

The repetitive nature of certain art forms, such as coloring or knitting, can induce a meditative state, calming our minds and promoting mental well-being.

Art and crafts as a form of communication

Art serves as a universal language that transcends barriers. It allows us to communicate our thoughts, ideas, and emotions without using words. Through art, we can convey complex concepts and narratives, making it an effective form of communication.

Art and crafts provide an avenue for self-expression, enabling us to share our innermost thoughts and feelings with others.

How Does Arts and Crafts Affect Your Well-Being?

Arts and crafts have a positive impact on well-being in various ways. Engaging in creative activities promotes relaxation and reduces stress, serving as a form of therapeutic expression. It can enhance mood, boost self-esteem, and provide a sense of accomplishment.

Moreover, arts and crafts offer an opportunity for mindfulness and focus, allowing individuals to engage in a meditative and calming practice that contributes to overall well-being.

Arts and Crafts for Well-being

The benefits of art and crafts extend beyond just creativity. Engaging in these activities can have a profound impact on our mental well-being, contributing to a healthier and happier life.

How art and crafts can improve mental well-being

Art and crafts offer an outlet for self-reflection and introspection. They provide a space for us to process our emotions and thoughts, promoting mental clarity and self-awareness. By engaging in creative activities, we can release pent-up feelings and find a sense of inner peace.

Using art and crafts to reduce anxiety

Research has shown that art and crafts can be beneficial for individuals struggling with anxiety. The repetitive and soothing nature of creating art can help to calm the mind and slow down racing thoughts. It provides a much-needed distraction from everyday worries and allows for a sense of calm and serenity to take over.

Rewarding experiences in art and crafts

Engaging in art and crafts can be immensely rewarding. The process of starting with a blank canvas or a block of clay and transforming it into something beautiful is a truly fulfilling experience.

The sense of achievement that comes with completing a piece of art or craft fosters a positive mood and boosts our overall well-being.

How Do You Explore Arts and Crafts Ideas?

Exploring arts and crafts ideas can be done in various ways. One way is to seek inspiration from different sources such as art books, online platforms, or visiting galleries and exhibitions. Engaging in workshops or classes can also provide guidance and introduce new techniques.

Additionally, experimenting with different materials, tools, and styles allows for personal exploration and creativity. Sharing ideas and collaborating with fellow artists and crafters can further expand horizons and foster a supportive and inspiring community.

Exploring Art and Craft Ideas

Art and crafts present us with a world of endless possibilities. There are always new techniques to learn, materials to discover, and ideas to explore.

Building specific creative skills through art and crafts

Engaging in art and crafts allows us to develop specific creative skills. Whether it’s learning to draw realistic portraits or mastering the art of watercolor painting, each artistic endeavor helps us build upon our existing abilities and expand our creative horizons.

Discovering new materials in art and crafts

The world of art and crafts is filled with a wide array of materials just waiting to be discovered. From traditional mediums like paint and clay to unconventional ones like recycled materials, there is always something new to explore.

Trying out different materials can spark new ideas and bring a fresh perspective to our creative processes.

Relaxation and mental focus with art and crafts

Engaging in art and crafts provides an opportunity to escape the chaotic pace of modern life and find solace in the present moment. The process of creating art requires concentration and mental focus, allowing us to temporarily forget our worries and immerse ourselves fully in the task at hand.

This state of flow brings a sense of calm and relaxation, benefiting both our mind and body.

What Is the Role of Arts and Crafts in Education?

Arts and crafts play a crucial role in education as they offer numerous benefits to students. They promote creativity, self-expression, and critical thinking skills. By engaging in hands-on activities, students can develop problem-solving abilities and enhance their fine motor skills.

Arts and crafts also encourage cultural appreciation and help students explore their own identities. Furthermore, these activities provide a platform for collaboration and communication, fostering social skills and teamwork.

Overall, arts and crafts in education contribute to well-rounded development, fostering imagination and a love for learning.

The Role of Arts and Crafts in Education

Art and crafts play a crucial role in education, offering unique benefits that support holistic development and facilitate learning.

Using art and crafts to enhance learning

Integrating art and crafts into educational curricula enhances learning in multiple ways. It promotes active engagement and hands-on learning, making subjects more interesting and memorable.

Artistic activities also encourage cross-disciplinary thinking and problem-solving skills, allowing students to apply their knowledge in creative and meaningful ways.

Encouraging creativity and critical thinking through art and crafts

Art and crafts foster creativity and critical thinking, essential skills for personal and professional growth. By engaging in these activities, students are encouraged to think outside the box, connect concepts, and analyze information from different perspectives.

This helps them develop a deeper understanding of the subject matter and nurtures their ability to think creatively and critically.

Art and crafts as a means of self-expression and exploration

Art and crafts provide a platform for students to express themselves and explore their unique identities. Through artistic endeavors, students can communicate their thoughts and emotions, allowing teachers to gain insights into their experiences and perspectives.

This fosters a supportive and inclusive learning environment, where students feel valued for their individuality.

How Does Arts and Crafts Help Relax the Mind and Relieve Stress?

Arts and crafts activities offer a unique opportunity for individuals to relax and unwind. Engaging in creative hobbies allows the mind to focus on the task at hand, providing a temporary escape from everyday stressors.

Studies have shown that participating in arts and crafts can have a calming effect on the brain, similar to meditation or mindfulness practices. By immersing ourselves in the creative process, we can experience a sense of flow and mental relaxation.

Can Arts and Crafts Improve Cognitive Skills and Enhance Brain Function?

Engaging in arts and crafts activities stimulates the brain in various ways. When we participate in artistic endeavors, such as painting, sculpting, or crafting, our brain’s neural connections are activated, promoting cognitive functions such as problem-solving, critical thinking, and creativity.

Additionally, the act of working with art supplies and manipulating different materials can enhance fine motor skills and hand-eye coordination. Research suggests that regularly engaging in arts and crafts can help improve memory, concentration, and overall brain health .

How Does Arts and Crafts Provide a Sense of Fulfillment and Personal Satisfaction?

One of the reasons people are drawn to arts and crafts is the inherent satisfaction and pride that comes from creating something with our own hands. Whether it’s a painting, a piece of pottery, or a handmade card, the finished product represents our creativity and effort.

This sense of accomplishment can boost self-esteem and contribute to a positive emotional state. Moreover, arts and crafts provide an avenue for self-expression, allowing individuals to convey their thoughts, emotions, and experiences visually.

By engaging in arts and crafts, we can tap into our inner creativity and feel a sense of pride in our artistic creations.

How Can Arts and Crafts Benefit Children’s Development and Well-being?

Why I Love Arts and Crafts? Arts and crafts play a crucial role in children’s growth and development. Through artistic activities, children can enhance their cognitive, motor, and social skills. Engaging in arts and crafts allows children to explore their imagination, think creatively, and problem-solve.

Moreover, it provides an opportunity for self-expression, allowing children to communicate their thoughts and emotions visually.

Creating art fosters a sense of pride and accomplishment, which contributes to children’s self-confidence and self-esteem. Additionally, arts and crafts activities can promote bonding and social interaction when children participate in group projects or share their artwork with others.

How Can Arts and Crafts Serve as a Therapeutic Outlet for Mental Well-being?

Arts and crafts have long been recognized as a therapeutic tool for promoting mental well-being. Engaging in creative activities can provide a form of self-therapy, allowing individuals to process their emotions, reduce anxiety, and manage stress.

Art therapy is a well-established practice that utilizes artistic expression as a means of communication and emotional release. Engaging in arts and crafts can provide a safe and non-judgmental space for individuals to explore their feelings, reflect on their experiences, and gain a sense of control over their emotions.

Whether through painting, drawing, or other creative endeavors, arts and crafts can serve as a therapeutic outlet for mental health and personal growth.

Seven Reasons Why I Love Arts and Crafts

Are you ready to embark on Seven Reasons Why I Love Arts and Crafts? A whimsical journey into the colorful world of arts and crafts! Grab your paintbrush, glue, and a sprinkle of imagination as we explore the seven reasons why I’m head over heels for this delightful creative pursuit.

From the sheer joy of getting lost in a swirl of colors to the satisfaction of bringing ideas to life with my own two hands, arts and crafts have stolen my heart and transformed my world.

So, buckle up and prepare for a crafty adventure that will make your heart flutter and your inner artist shine with my Seven Reasons Why I Love Arts and Crafts!

1. Self-Satisfaction

Why I Love Arts and Crafts stems from the immense satisfaction I experience when creating something with my own hands. The act of bringing my ideas to life and witnessing the admiration of others fills my heart with immeasurable joy and contentment.

2. Personal Development

Engaging in arts and crafts fuels my personal growth and development. Each stroke of the brush, every careful cut and paste, enhances my motor skills and strengthens my artistic abilities, nurturing my journey of self-improvement.

3. Communication Skills

Why I Love Arts and Crafts extends to the remarkable power it holds in facilitating self-expression. Through the art I create, whether it be a mesmerizing painting or a meticulously crafted sculpture, I effectively communicate my inner thoughts and emotions, fostering deeper connections with others.

4. Boost in Self-Confidence

Arts and crafts have been instrumental in boosting my self-confidence. By engaging in various artistic endeavors, such as painting and drawing, I have witnessed my own growth, from a once-shy individual to a more self-assured person, proud of my unique creations.

5. Improvement in Math

Surprisingly, arts and crafts have played a vital role in my mathematical development. The process of creating involves measurement, spatial awareness, and the manipulation of shapes, allowing me to strengthen my math skills in a practical and enjoyable way.

6. Development of Creativity

Why I Love Arts and Crafts encompasses the unparalleled stimulation it provides to my creativity. Each artistic endeavor ignites my imagination, encouraging me to explore new color palettes, experiment with unconventional patterns, and unlock the depths of my creative potential.

7. Continuous Learning

Engaging in arts and crafts is a perpetual journey of learning and growth. Through trial and error, I embrace the notion that mistakes are an essential part of the creative process, propelling me to acquire new skills, innovate, and evolve as an artist.

Unleash your inner artist and embark on a remarkable journey of discovery through arts and crafts. Embrace the joy of creation, the thrill of learning, and the remarkable self-expression that only art can provide.

So, let’s pick up our brushes, gather our tools, and delve into a world where creativity knows no bounds.

Objectives of Learning Arts and Crafts

In a world bursting with possibilities, arts and crafts stand tall as the catalysts of imagination, self-expression, and personal growth. As we embark on this whimsical journey, let us unravel the true objectives of learning arts and crafts, revealing the enchanting reasons why I wholeheartedly love and embrace this magical realm.

So, prepare to be inspired, as we delve into a world where colors dance, ideas flourish, and creative spirits soar. This is Why I Love Arts and Crafts!

Appreciating Artifacts: Cultivating Cultural Appreciation

Arts and crafts serve as a gateway for both children and adults to appreciate the rich tapestry of artifacts from diverse cultures. By engaging in artistic endeavors, individuals gain a deeper understanding of history and heritage.

This newfound knowledge enhances their confidence and transforms their thinking patterns, fostering a heightened sense of observation and cultural appreciation.

Enhancing Dexterity: Igniting Motor Skill Development

One of the primary objectives of art and craft education is to enhance agility and foster an active lifestyle. Through activities like origami , painting, and sculpting with clay, individuals, whether young or old, refine their coordination and strengthen their motor skills.

These hands-on experiences empower them to become more dexterous, opening up a world of creative possibilities.

Nurturing Social Bonds: Embracing the Power of Collaboration

Art and craft activities serve as powerful tools for socialization, fostering teamwork and the development of leadership qualities. By engaging in collaborative projects, children and adults alike learn the value of working together, supporting one another, and fostering a sense of community.

These experiences cultivate social skills, enabling individuals to forge meaningful connections and contribute positively to the world around them.

Skill Development: Empowering Economic Stability

Engaging in arts and crafts fosters skill development, equipping individuals with valuable abilities that can contribute to their economic stability. The acquisition of artistic skills opens doors to various career opportunities, allowing individuals to channel their talents and passion into meaningful professions.

By honing their craft, they can unleash their creative potential and build a solid foundation for a prosperous future. The enchanting world of arts and crafts offers an array of benefits, from fostering cultural appreciation and enhancing dexterity to nurturing social bonds and empowering skill development.

By immersing ourselves in the realms of creativity, we embark on a journey of self-discovery, personal growth, and the realization of our artistic potential. So, let us celebrate the profound impact of arts and crafts, where passion and imagination converge, and where the beauty of self-expression knows no bounds.

What are motor skills?

Motor skills refer to the ability to control and coordinate movements of the muscles of the body. These skills are essential for activities like walking, writing, and playing sports.

How does engaging in arts and crafts activities promote motor skills?

Engaging in arts and crafts activities involves using different materials, tools, and techniques. These activities require hand-eye coordination, fine motor skills, and finger dexterity, thus promoting the development and refinement of motor skills.

How can arts and crafts activities help improve self-esteem?

Arts and crafts activities provide an opportunity for self-expression and allow individuals to create something unique. When people see the finished product of their creative efforts, they feel a sense of accomplishment and pride, which can boost their self-esteem.

Why is creativity important in arts and crafts?

Creativity is important in arts and crafts because it allows individuals to think outside the box, explore new ideas, and come up with unique and original creations. It encourages innovative thinking and problem-solving skills.

How does arts and crafts encourage communication?

Engaging in arts and crafts activities provides an opportunity for individuals to express their thoughts, ideas, and emotions. Whether through visual art, writing, or performing arts, arts and crafts can serve as a medium for communication and self-expression.

How does engaging in arts and crafts activities promote the development of social skills?

Arts and crafts activities can be done individually or in groups. When done in a group setting, it allows individuals to interact, collaborate, and share ideas with others. This promotes social skills such as teamwork, communication, and cooperation.

Can arts and crafts activities help reduce anxiety?

Engaging in arts and crafts activities can provide a therapeutic outlet for individuals to relax, unwind, and focus on the present moment. The process of creating something with one’s hands can help distract from anxiety-inducing thoughts and promote a sense of calm and mindfulness.

Should I reward my child for their arts and crafts creations?

While it’s important to acknowledge and appreciate your child’s efforts and creativity, the primary focus should be on the process of creating rather than the end result. Instead of relying on external rewards, encourage and praise your child’s creativity and effort to promote intrinsic motivation.

What are the visual benefits of arts and crafts activities?

Engaging in arts and crafts activities involves working with various colors, shapes, and visual elements. It helps improve visual perception, spatial awareness, and hand-eye coordination. It also allows individuals to explore and develop their artistic sense.

How can arts and crafts activities benefit toddlers?

Arts and crafts activities can benefit toddlers in multiple ways. They help enhance their fine motor skills, hand coordination, and creativity. 

These activities also assist in their cognitive development, problem-solving skills, and sensory exploration.

Why do people love arts and crafts?

People love arts and crafts because it provides a creative outlet for self-expression, allows them to tap into their imagination, and offers a sense of accomplishment and fulfillment through the act of creating something unique with their own hands.

Why do I love making art so much?

Individuals love making art because it provides a means of personal expression, allowing them to communicate their thoughts, emotions, and experiences visually. Creating art can also be a form of therapeutic release, offering a sense of joy, satisfaction, and a means of self-discovery.

Why is arts and crafts a good hobby?

Arts and crafts are a good hobby because they offer numerous benefits, such as promoting creativity, enhancing problem-solving skills, providing a sense of relaxation and stress relief, fostering self-esteem and self-confidence, and offering a productive way to spend leisure time.

Why is art and craft important in life?

Art and craft are important in life as they enrich our lives by stimulating creativity, promoting self-expression, and encouraging personal growth. Engaging in art and craft activities can enhance cognitive abilities, foster emotional well-being, and contribute to a fulfilling and meaningful life.

How does art make people happy?

Art has the power to evoke emotions, inspire awe and wonder, and provide a sense of beauty and joy. Engaging with art can trigger positive emotions, stimulate the release of endorphins, and create a sense of connection and happiness.

Why are arts and crafts a good hobby?

Arts and crafts are a good hobby because they offer a wide range of creative activities, allow individuals to explore their imagination, provide a break from daily routines, and offer opportunities for learning new skills and discovering new passions.

Why do people love to make art?

People love to make art because it allows them to express themselves in unique and personal ways, explore their creativity, and engage in a process of self-discovery. Art making can be a deeply fulfilling and meaningful experience.

What does liking art say about you?

Liking art suggests an appreciation for beauty, creativity, and self-expression. It indicates an open-mindedness to different perspectives, a curiosity about the world, and a desire to engage with the aesthetic and emotional aspects of life.

Why do people enjoy arts and crafts?

People enjoy arts and crafts because it offers a break from daily routines, encourages creativity and self-expression, provides a sense of accomplishment, and allows for personal growth and exploration of different artistic techniques and mediums.

Why do people love art so much?

People love art so much because it has the power to captivate, inspire, and move individuals on an emotional and intellectual level. Art has the ability to convey messages, tell stories, and offer unique perspectives that resonate with people’s experiences and stir their imaginations.

Wrapping Up Why I Love Arts and Crafts

In conclusion, arts and crafts have become my passion, my sanctuary of self-expression, and a joyful journey of discovery. Why I Love Arts and Crafts? Because they ignite my imagination, connect me with a vibrant community, and inspire a lifelong pursuit of creativity.

So, let’s embrace the magic of arts and crafts, unlocking the door to endless possibilities and celebrating the beauty they bring to our lives. Why I love arts and crafts? Because they unleash boundless creativity and fill my world with endless inspiration.

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Why I Write

This material remains under copyright in some jurisdictions, including the US, and is reproduced here with the kind permission of  the Orwell Estate . The Orwell Foundation is an independent charity – please consider making a donation or becoming a Friend of the Foundation to help us maintain these resources for readers everywhere. 

From a very early age, perhaps the age of five or six, I knew that when I grew up I should be a writer. Between the ages of about seventeen and twenty-four I tried to abandon this idea, but I did so with the consciousness that I was outraging my true nature and that sooner or later I should have to settle down and write books.

I was the middle child of three, but there was a gap of five years on either side, and I barely saw my father before I was eight. For this and other reasons I was somewhat lonely, and I soon developed disagreeable mannerisms which made me unpopular throughout my schooldays. I had the lonely child’s habit of making up stories and holding conversations with imaginary persons, and I think from the very start my literary ambitions were mixed up with the feeling of being isolated and undervalued. I knew that I had a facility with words and a power of facing unpleasant facts, and I felt that this created a sort of private world in which I could get my own back for my failure in everyday life. Nevertheless the volume of serious – i.e. seriously intended ­– writing which I produced all through my childhood and boyhood would not amount to half a dozen pages. I wrote my first poem at the age of four or five, my mother taking it down to dictation. I cannot remember anything about it except that it was about a tiger and the tiger had ‘chair-like teeth’ – a good enough phrase, but I fancy the poem was a plagiarism of Blake’s ‘Tiger, Tiger’. At eleven, when the war or 1914-18 broke out, I wrote a patriotic poem which was printed in the local newspaper, as was another, two years later, on the death of Kitchener. From time to time, when I was a bit older, I wrote bad and usually unfinished ‘nature poems’ in the Georgian style. I also, about twice, attempted a short story which was a ghastly failure. That was the total of the would-be serious work that I actually set down on paper during all those years.

However, throughout this time I did in a sense engage in literary activities. To begin with there was the made-to-order stuff which I produced quickly, easily and without much pleasure to myself. Apart from school work, I wrote vers d’occasion , semi-comic poems which I could turn out at what now seems to me astonishing speed – at fourteen I wrote a whole rhyming play, in imitation of Aristophanes, in about a week – and helped to edit school magazines, both printed and in manuscript. These magazines were the most pitiful burlesque stuff that you could imagine, and I took far less trouble with them than I now would with the cheapest journalism. But side by side with all this, for fifteen years or more, I was carrying out a literary exercise of a quite different kind: this was the making up of a continuous “story” about myself, a sort of diary existing only in the mind. I believe this is a common habit of children and adolescents. As a very small child I used to imagine that I was, say, Robin Hood, and picture myself as the hero of thrilling adventures, but quite soon my “story” ceased to be narcissistic in a crude way and became more and more a mere description of what I was doing and the things I saw. For minutes at a time this kind of thing would be running through my head: ‘He pushed the door open and entered the room. A yellow beam of sunlight, filtering through the muslin curtains, slanted on to the table, where a matchbox, half-open, lay beside the inkpot. With his right hand in his pocket he moved across to the window. Down in the street a tortoiseshell cat was chasing a dead leaf,’ etc., etc. This habit continued until I was about twenty-five, right through my non-literary years. Although I had to search, and did search, for the right words, I seemed to be making this descriptive effort almost against my will, under a kind of compulsion from outside. The ‘story’ must, I suppose, have reflected the styles of the various writers I admired at different ages, but so far as I remember it always had the same meticulous descriptive quality.

When I was about sixteen I suddenly discovered the joy of mere words, i.e. the sounds and associations of words. The lines from Paradise Lost –

So hee with difficulty and labour hard Moved on: with difficulty and labour hee,

which do not now seem to me so very wonderful, sent shivers down my backbone; and the spelling ‘hee’ for ‘he’ was an added pleasure. As for the need to describe things, I knew all about it already. So it is clear what kind of books I wanted to write, in so far as I could be said to want to write books at that time. I wanted to write enormous naturalistic novels with unhappy endings, full of detailed descriptions and arresting similes, and also full of purple passages in which words were used partly for the sake of their sound. And in fact my first completed novel, Burmese Days , which I wrote when I was thirty but projected much earlier, is rather that kind of book.

I give all this background information because I do not think one can assess a writer’s motives without knowing something of his early development. His subject-matter will be determined by the age he lives in ­– at least this is true in tumultuous, revolutionary ages like our own – but before he ever begins to write he will have acquired an emotional attitude from which he will never completely escape. It is his job, no doubt, to discipline his temperament and avoid getting stuck at some immature stage, or in some perverse mood: but if he escapes from his early influences altogether, he will have killed his impulse to write. Putting aside the need to earn a living, I think there are four great motives for writing, at any rate for writing prose. They exist in different degrees in every writer, and in any one writer the proportions will vary from time to time, according to the atmosphere in which he is living. They are:

(i) Sheer egoism. Desire to seem clever, to be talked about, to be remembered after death, to get your own back on grown-ups who snubbed you in childhood, etc., etc. It is humbug to pretend this is not a motive, and a strong one. Writers share this characteristic with scientists, artists, politicians, lawyers, soldiers, successful business men – in short, with the whole top crust of humanity. The great mass of human beings are not acutely selfish. After the age of about thirty they abandon individual ambition – in many cases, indeed, they almost abandon the sense of being individuals at all – and live chiefly for others, or are simply smothered under drudgery. But there is also the minority of gifted, willful people who are determined to live their own lives to the end, and writers belong in this class. Serious writers, I should say, are on the whole more vain and self-centered than journalists, though less interested in money.

(ii) Aesthetic enthusiasm. Perception of beauty in the external world, or, on the other hand, in words and their right arrangement. Pleasure in the impact of one sound on another, in the firmness of good prose or the rhythm of a good story. Desire to share an experience which one feels is valuable and ought not to be missed. The aesthetic motive is very feeble in a lot of writers, but even a pamphleteer or writer of textbooks will have pet words and phrases which appeal to him for non-utilitarian reasons; or he may feel strongly about typography, width of margins, etc. Above the level of a railway guide, no book is quite free from aesthetic considerations.

(iii) Historical impulse. Desire to see things as they are, to find out true facts and store them up for the use of posterity.

(iv) Political purpose – using the word ‘political’ in the widest possible sense. Desire to push the world in a certain direction, to alter other people’s idea of the kind of society that they should strive after. Once again, no book is genuinely free from political bias. The opinion that art should have nothing to do with politics is itself a political attitude.

It can be seen how these various impulses must war against one another, and how they must fluctuate from person to person and from time to time. By nature – taking your ‘nature’ to be the state you have attained when you are first adult – I am a person in whom the first three motives would outweigh the fourth. In a peaceful age I might have written ornate or merely descriptive books, and might have remained almost unaware of my political loyalties. As it is I have been forced into becoming a sort of pamphleteer. First I spent five years in an unsuitable profession (the Indian Imperial Police, in Burma), and then I underwent poverty and the sense of failure. This increased my natural hatred of authority and made me for the first time fully aware of the existence of the working classes, and the job in Burma had given me some understanding of the nature of imperialism: but these experiences were not enough to give me an accurate political orientation. Then came Hitler, the Spanish Civil War, etc. By the end of 1935 I had still failed to reach a firm decision. I remember a little poem that I wrote at that date, expressing my dilemma:

A happy vicar I might have been Two hundred years ago, To preach upon eternal doom And watch my walnuts grow But born, alas, in an evil time, I missed that pleasant haven, For the hair has grown on my upper lip And the clergy are all clean-shaven. And later still the times were good, We were so easy to please, We rocked our troubled thoughts to sleep On the bosoms of the trees. All ignorant we dared to own The joys we now dissemble; The greenfinch on the apple bough Could make my enemies tremble. But girls’ bellies and apricots, Roach in a shaded stream, Horses, ducks in flight at dawn, All these are a dream. It is forbidden to dream again; We maim our joys or hide them; Horses are made of chromium steel And little fat men shall ride them. I am the worm who never turned, The eunuch without a harem; Between the priest and the commissar I walk like Eugene Aram; And the commissar is telling my fortune While the radio plays, But the priest has promised an Austin Seven, For Duggie always pays. I dreamt I dwelt in marble halls, And woke to find it true; I wasn’t born for an age like this; Was Smith? Was Jones? Were you?

The Spanish war and other events in 1936-37 turned the scale and thereafter I knew where I stood. Every line of serious work that I have written since 1936 has been written, directly or indirectly, against totalitarianism and for democratic socialism, as I understand it. It seems to me nonsense, in a period like our own, to think that one can avoid writing of such subjects. Everyone writes of them in one guise or another. It is simply a question of which side one takes and what approach one follows. And the more one is conscious of one’s political bias, the more chance one has of acting politically without sacrificing one’s aesthetic and intellectual integrity.

What I have most wanted to do throughout the past ten years is to make political writing into an art. My starting point is always a feeling of partisanship, a sense of injustice. When I sit down to write a book, I do not say to myself, ‘I am going to produce a work of art’. I write it because there is some lie that I want to expose, some fact to which I want to draw attention, and my initial concern is to get a hearing. But I could not do the work of writing a book, or even a long magazine article, if it were not also an aesthetic experience. Anyone who cares to examine my work will see that even when it is downright propaganda it contains much that a full-time politician would consider irrelevant. I am not able, and do not want, completely to abandon the world view that I acquired in childhood. So long as I remain alive and well I shall continue to feel strongly about prose style, to love the surface of the earth, and to take a pleasure in solid objects and scraps of useless information. It is no use trying to suppress that side of myself. The job is to reconcile my ingrained likes and dislikes with the essentially public, non-individual activities that this age forces on all of us.

It is not easy. It raises problems of construction and of language, and it raises in a new way the problem of truthfulness. Let me give just one example of the cruder kind of difficulty that arises. My book about the Spanish civil war, Homage to Catalonia , is of course a frankly political book, but in the main it is written with a certain detachment and regard for form. I did try very hard in it to tell the whole truth without violating my literary instincts. But among other things it contains a long chapter, full of newspaper quotations and the like, defending the Trotskyists who were accused of plotting with Franco. Clearly such a chapter, which after a year or two would lose its interest for any ordinary reader, must ruin the book. A critic whom I respect read me a lecture about it. ‘Why did you put in all that stuff?’ he said. ‘You’ve turned what might have been a good book into journalism.’ What he said was true, but I could not have done otherwise. I happened to know, what very few people in England had been allowed to know, that innocent men were being falsely accused. If I had not been angry about that I should never have written the book.

In one form or another this problem comes up again. The problem of language is subtler and would take too long to discuss. I will only say that of late years I have tried to write less picturesquely and more exactly. In any case I find that by the time you have perfected any style of writing, you have always outgrown it. Animal Farm was the first book in which I tried, with full consciousness of what I was doing, to fuse political purpose and artistic purpose into one whole. I have not written a novel for seven years, but I hope to write another fairly soon. It is bound to be a failure, every book is a failure, but I do know with some clarity what kind of book I want to write.

Looking back through the last page or two, I see that I have made it appear as though my motives in writing were wholly public-spirited. I don’t want to leave that as the final impression. All writers are vain, selfish, and lazy, and at the very bottom of their motives there lies a mystery. Writing a book is a horrible, exhausting struggle, like a long bout of some painful illness. One would never undertake such a thing if one were not driven on by some demon whom one can neither resist or understand. For all one knows that demon is simply the same instinct that makes a baby squall for attention. And yet it is also true that one can write nothing readable unless one constantly struggles to efface one’s own personality. Good prose is like a windowpane. I cannot say with certainty which of my motives are the strongest, but I know which of them deserve to be followed. And looking back through my work, I see that it is invariably where I lacked a political purpose that I wrote lifeless books and was betrayed into purple passages, sentences without meaning, decorative adjectives and humbug generally.

Gangrel , No. 4, Summer 1946

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Humphrey Fellows at Cronkite School of Journalism and Mass Communication – ASU

Exploring the world through servant leadership

Why do I like Impressionism?

• CevherShare

In order to write about genre of art which attracts me the most, and explain why do I consider that genre better then the other ones, I must say that this was quite hard question for me. I love diversity and that is why I love to enjoy different types of art and expressions. No matter if we are talking about music or visual art.  But if I consider which genre have attracted me most since I am studding art, so since my High School, then I could talk about Impressionism.

I was never so much impressed by real things recreated inside of Art World. That is why I do appreciate a lot Realism, Renaissance or Baroque, but those genres don’t awake same feelings inside myself as much as Impressionism and all what have been created out of that genre do.

Impressionism is a nth-century art movement originated with a group of Paris-based artists. The name of the style derives from the title of a Claude Monet work, (Impression, sunrise, which provoked the critics to coin this term in a satiric review published in the Parisian newspapers.

Most famous painters were Monet, Manet, Sisley, Renoir, and Pissarro etc.

What I love about this genre is that first time in history painters decided to go out of ateliers and to try to catch sun and light. It is possible to see theirs paintings from many different perspectives. They are full of color diversity, and brightness. The Impressionists were trying to catch moment and to make it timeless.

The development of Impressionism can be considered partly as a reaction by artists to the challenge presented by photography, which seemed to devalue the artist’s skill in reproducing reality.  The Impressionists sought to express their perceptions of nature, rather than create exact representations. This allowed artists to depict subjectively what they saw.  Impressionists had captured fresh and original visions of surrounding.

I am admiring also all genres which followed up after Impressionism as Post- Impressionism, Expressionism, Fauvism, Pointillism etc.

And I had a feeling that Impressionists just open the door for future types of visual artists and let the light to come into their way of creating art.

Those are reasons why I would put Impressionism at first place if I have to choose genre which I love the most. Each time when I was visiting different galleries in Europe or USA I was mostly moved by seeing their paintings in live. But those feelings don’t exclude also quite pleasurable feelings whenever I see pieces of art of any genre which were creating History of Art.

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One comment on “why do i like impressionism”.

Reading this I a reminded of spending July at my sister’s cabin in Banff Canada/Montana where she taught me to water color paint.

I love how Hemingway learned about the impressionists living in Paris in the 1920’s with other writers–the so called lost generation that included Joyce, F.Scott Fitzgerald etc.

Also enjoyed this tweet about impressionism https://twitter.com/HuffingtonPost/status/268812851412623360

What can leaders learn from the arts?

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Art, Photos, Cross-Cultural Miscellany, and Food

Essay 13: Why I Make Art

The simplest answer to the question of why I make art is that I do so because I’m good at it, generally enjoy the process, and because people seem to respond positively to my work.

One could easily turn the question to any other field. Why do people in other professions do what they do? Obviously, many of them do their jobs in order to make a living. But while many professions—doctors, farmers, medical workers, garbage collectors—serve immediately obvious and beneficial purposes, one wonders about the ranks of middle managers, sales people, lawyers, and such, who seem to be leeches on society. No one asks them their purpose in what they do, since their purpose is to make money. I think the reason people question the choice of art as a career is because of the perception that there is no money in it.

To a large extent art is like any other field: populated by a majority of people with a modicum of talent or skill and a strong desire to succeed in their chosen career. They are competent players and have learned the rules of a particular game. If they decide to apply themselves to success in another field, their chances are just as good. This type of person is characterized by acting on desire, where the attitude runs along the lines of “I really want to be a something ,” where the something is their career of choice and the motivation comes from the person’s conception about what it is to follow that career and become that particular something.

Many people—especially a certain breed of Canadians—think art is superfluous, a luxury. Jewelry designer Benny Sung described Canadians as on the whole pragmatic. They buy a car, a house, a cottage. In that order. Then they take care of their kids’ education and their own retirement. Only if there’s any money left does the budget turn to luxury goods—art, jewelry, clothing—but travel often wins out over these material luxuries. (Sung in Huang and Jeffery 1992) 1 In such a climate—especially the socio-historical milieu I grew up in—it is natural to ask why people make art. My home province of Saskatchewan was settled by a combination of temperance colonists, European peasant farmers lured by offers of free land, and assorted adventurers and profiteers. Most of these people found art irrelevant, foreign, or anathema. These immigrants displaced or disenfranchised a native population that had its own cultural interpretation of what art is and what it’s for. Given this strange and diverse mix of cultures it’s little surprise that artists of my background are often saddled with existential angst.

From one direction comes this angst induced by the attitude that art is of questionable relevance. Another nail in the coffin of artistic respectability is the romantic conception of the artist as a bohemian renegade loner starving in a garret. This trope gives the mistaken impression that all artists are social deviants that have no redeeming value in society. Artists who see it as their purpose to actively antagonize their audience do not help the sitation. Nor does the proliferation in contemporary art of work which is rarely interesting to look at, conceptual art work that is banal, and art that should take its socio-political agendas out of the gallery and into a more effective public space. In contrast to the activities of groups such as the Guerilla Girls and movements such as Fluxus a great deal of so-called art that masquerades as activism is simply a passive sardonic commentary, done by people dabbling in activism. Were these so-called activists truly interested in changing things or making an effective statement to a broad public, they’d choose media with more widespread distribution than galleries dedicated to contemporary art.

Politics and agendas aside, a more honest answer to the question of why I make art is that I make art because I can’t not make art. In contrast to those who pursue a career out of desire, I see myself as someone following a calling. My work is a passion, a consuming need, and as I’ve said Essay 10 (Craft and Audience) , it is by no means always fun and games. I count myself lucky that this double-edged gift of talent comes with a strong desire to pursue art as a career, especially since I know that there are people who have desire without talent and others with talent who have little desire to become artists.

Cultural values in my hometown may cause people there to question the importance of art, but my travels—especially to countries with long histories—confirmed what I had already suspected and had occasionally read about. I found that no matter how cosmopolitan some its residents find it, a city in the middle of the Canadian prairies—or any other place distant from major cultural centres—is not representative of the rest of the world and it is especially not representative of the places where artists are able to thrive creatively and financially. Therefore, the desire to pursue a career in the arts, while assumed in one milieu to be a renunciation of cultural norms in the blind pursuit of hedonistic excesses, is seen as a valid and respectable pursuit in another.

I prefer this “old world” notion of the artist as a respectable contributor to society and choose to pursue art even though I have other career options which on the surface may appear to be more secure. My high degree of skill in a number of other fields—among them web development, graphic design, cooking, and editing—could each lead to a decent career if I desired it. I have also been told that I would make a decent arts administrator. Each of these would garner a certain measure of professional respect, and some would lead to financial rewards and the attendant social acceptance. But who am I to ignore my calling in the pursuit of desire? Each of these fields has practitioners who are there for the same reasons I make art: they cannot not do something that wells up naturally in them. Their careers are a product of who they are rather than what they want to be. To turn my back on art in order to follow a desire to be something else would be to throw my lot in with all of the wanna-be’s in those other fields of practice. It’s possible that I would be able to rise to a high level in a non-art career, but just as with athletes there is a distinction to be made between what makes an Olympian and what makes an also-ran. Notwithstanding what I say in Essay 4 (Processes and Issues of Practice) about East Asian beliefs in repetitive practice leading to abilities that seem supernatural, no amount of desire and training will take a highly skilled individual to the level of naturalness that is achieved by someone with innate talent and aptitude who has spent time developing that talent.

This whole idea of actions stemming from desire is made plain in the recurring theme in twentieth-century art of the corruption of society, wherein people were seen to be turning away from inward practices towards outward materialism, greed, and dishonesty. Lipsey, talking about this phenomenon, discusses the twentieth-century quest for meaning in a society that has had its monotheistic, monocultural foundations undermined from many directions—industrialization, mass media, scientific inquiry, contact with other cultures, and so on. He talks about how there is a lack of an “orthodox spirituality in [the twentieth] century, and the culture at large has been amazingly unreceptive to the spiritual aspect of the artists’ thought and work.” (Lipsey 1988, 3) This absence isn’t just about spirituality and art, and though pervasive in the increasingly secularized West, is not as pronounced in less industrialized countries. Perhaps the phenomenon Lipsey describes is a problem of the culture of individualism. But how can we lament a lack of shared values when those very values stress the individual over the group? It seems hypocritical to bemoan the decline of common values while at the same time championing the rugged individualism characteristic of Western capitalist societies. It makes me wonder how people in group-oriented cultures feel about these issues.

This isn’t the place for a description of the Japanese education system, but my experiences in Japan and its cultural emphasis on groups led me to believe that some industrialized cultures do have shared values among all of their people. I know that in the Japanese education system there is a recognition that some things aren’t working. The rigidity of the system is blamed for drilling the creativity out of the culture. And in general—not just in Japan—the scientific method of rational hypothesis, experiment, proof, and repeatability, has contributed a great deal to the decline and discrediting of magico-religious phenomena that have a greater social function than mass delusion and control.

In many ways I believe that we have barely advanced beyond the nineteenth-century in our attitudes and understanding of the world. We have more technology, more knowledge, more data, longer life spans, and a belief that we are better as well as better off, but we suffer from many the same problems as we did a hundred years ago: materialism, inequity and inequality, ignorance (willful and otherwise), a lack of self-knowledge. Yes, the lives of many who previously would have been trodden on have been improved. But the attitudes feminists and civil rights activists—among others—fought against are still pervasive, and much of the energy that was previously spent upholding these inequalities has since been diverted into religious and political ideologies which in many cases seek a return to the dark ages.

This vicious cycle—or perhaps it is a continuum—is no better demonstrated than by the quest of artists to find meaning in a baffling world. Lipsey describes it thusly:

The search of twentieth-century artists for a wise art—an art both beautiful and true—has taken many detours, lost its way again and again, yet persisted. We haven’t infallibly known what wisdom, beauty, and truth mean in an era that has seen so much stupidity, ugliness, and falsehood. To ask a search to show the confidence and finish of an accomplished culture that has had centuries to find its way is to ask too much. On the other hand, to ask nothing is to ask far too little. (Lipsey 1988, 461) [my emphasis]

In the early years of the last century, this quest was a reaction to the horrors of World War I. Parallel searches for meaning occurred repeatedly as the century progressed and artists—not to mention the rest of society—had to come to terms with further horrific events. Quests for meaning have not gone away, indicating that we still can’t fully comprehend contemporary life. I, too, am interested in making art that matters. Despite the fact that I focus my practice on evoking the ineffable, I’m willing to look at tough issues when necessary. However, just as Picasso didn’t spend all of his time making work like or derivative of his masterwork Guernica —which is often trumpeted as an example of modernist painting that makes a political statement—I’m not interested in focusing my entire practice on specific sociopolitical agendas. 2

My obsession with aesthetic beauty, honesty, and craft is a voice against—and an answer to—the stupidity, ugliness, and lies that are pervasive in our world today. This is what I seek relief for in my work. Even when the work does not literally illustrate an activist agenda or overtly deliver a socially redeeming message, the act of making work is political in and of itself. I have always felt that our society—which generates so much negativity—is in dire need of anyone capable of creating beautiful objects. Those who have the strength to eschew—even for brief moments—the combination of sardonic commentary and bafflement caused by contemporary life should be given as much support as they need in their drive to tip the balance in the direction of balance itself. It bears repeating from the Introduction to these essays and from the artist statement in my 8 Bodies in 12 Years :

My work is about beauty, enchantment, and mystery, and is guided by the belief that art should transcend the mundane.

• I may be misquoting Sung here. I’m paraphrasing from memory an interview he did for a Huang and Jeffery’s book of interviews about prominent Chinese-Canadians, which I read many years ago. ^

The painting depicts suffering people, animals, and buildings wrenched by the violence and chaos of the carpet-bombing, as well as the outline of a skull formed by various objects. This large canvas embodies for many the inhumanity, brutality and hopelessness of war, and the cruelty of bombing civilians. ( Wikipedia 2006: Guernica) ^

The ceiling of the Altamira caves in Cantabria, Spain. Photo by Stephen Alvarez/Alvarez Photography

Why make art in the dark?

New research transports us back to the shadowy firelight of ancient caves, imagining the minds and feelings of the artists.

by Izzy Wisher   + BIO

Charcoal drawings of stags, elegantly rendered in fluid lines, emerge under my torchlight as we squeeze through a tiny hidden entrance to a small chamber deep within Las Chimeneas cave in northern Spain. The chamber has space for just a couple of people, and certainly not standing, so we crouch on the cave floor and stare in awe at the depictions. Despite their remarkable freshness, they were drawn nearly 18,000 years ago. We sit in silence for a moment, soaking in the deep history of the space and realising that our ancient ancestors must have sat in the same cramped position as us. ‘Why do you think they drew these stags here?’ Eduardo Palacio-Pérez, the conservator of the cave, asks me. ‘I really don’t think we’ll ever know for sure,’ I reply.

What we do know is that during the Upper Palaeolithic ( c 45,000-15,000 years ago), our distant ancestors ventured deep underground to make these images. In these unfamiliar environments, they produced a rich display – from unusual abstract forms to highly detailed renderings of animals – under the dim glow of firelight cast by their lamps. Naturalistic animal outlines, rows of finger-dotted marks and splatter marks preserving the shadows of ancient hands remain frozen in time within the caves, representing tens of thousands of years of people returning to the darkness to engage in art-making.

This curious, yet deeply creative, behaviour captures the imagination. Yet as Jean Clottes – a prominent Palaeolithic art researcher – succinctly put it, the key unanswered question for us all is: ‘Why did they draw in those caves?’

C ertainly, since the earliest discovery of cave art in 1868 at Altamira in Spain, thousands of academic researchers have used an arsenal of different approaches – from high-resolution 3D scanning to analogies with contemporary hunter-gatherer societies – to try to unlock the intentions of Ice Age artists. There has been no shortage of hypotheses, some more plausible than others. Since the fragmentary archaeological record cannot provide answers alone, these theories draw on ethnographic and psychological research, and suggestions have varied from the mythical and magical, the symbolic and linguistic, to the mundane.

One suggestion is that Ice Age artists were high-status shamans who performed mysterious rites in the dark. These spiritual individuals are thought to have induced trance-like states deep in the caves, either through rhythmic drumming or mind-altering drugs. Altered states of consciousness may have facilitated communicating with ancestors, experiencing otherworldly psychedelic imagery, or coaxing animals out from a spirit world beyond the rocky surfaces of deep cave environments. The shaman hypothesis draws on ethnographic accounts and has come under significant criticism both for inappropriately drawing parallels between peoples today and those who lived in the deep past, and for subsuming a huge breadth of cultural behaviours under one label: ‘shamanism’.

Flickering firelight, echoing acoustics and tactile interactions form visceral experiences for each artist

A different hypothesis is that abstract marks and ‘signs’ on cave walls were a proto-writing system or part of a widespread means of communication. These communication systems are posited to have had a plethora of different contexts of use, from marking the changing seasons to denoting group identities. On this view, caves were rich resources for understanding the surrounding environment, for recording which animals were where, when they would reproduce, and for developing awareness of the presence of other local populations of people in the area. As supporting evidence, some researchers have singled out the ethologically accurate details: the colouring of the horses depicted reflects the genetic diversity of Ice Age horses; the shaggy winter coats of animals are shown accurately; and even specific animal behaviour can be identified. Yet, somewhat paradoxically, these interpretations assume a kind of stasis to the cave art. Temporal dimensions of the art are collapsed into one system that is assumed to have persisted across thousands of years of changing climates and shifting population dynamics.

These kinds of evocative interpretations of cave art , situating it within rich cultural milieus, contrast with the view that Palaeolithic art was merely ‘art for art’s sake’. Here, the enigmatic images on cave walls are assumed to have been produced by bored hunters who spent time honing their artistic abilities to create aesthetically pleasing depictions. Abstract signs are explained neurologically as pleasing patterns: intersecting lines, for example, resonate within the visual system to stimulate aesthetic pleasure. This view casts Ice Age art-making as a practice that emerged from our ancestors’ neurology – the tendency for some shapes and patterns to be ‘pleasing’ – and held no deeper meaning to the societies that created the depictions.

More nuanced approaches to Ice Age art that, unlike the above hypotheses discussed so far, do not seek one explanation for the artist’s motivations have revealed the multisensory experiences that would have been the context in which Ice Age art was created. Flickering firelight, echoing acoustics, multigenerational engagements with artistic behaviours and tactile interactions with the rough limestone walls and smooth stalagmites coalesce to form unique, visceral experiences for each artist at a specific time in a specific place. While the actual motivations of our ancestors are locked in time, these more nuanced perspectives situate us in the deeply human experiences of the past. We can begin to understand why our ancestors may have been attracted to particular cave spaces and to the sorts of sensory experiences stimulated in these environments, particularly visual experiences.

C lose your eyes. Take a deep breath. You’re standing in a cave, tens of thousands of years ago. The damp, earthen smell mixes with the warm smoke from your firelit torch and saturates your nostrils. The muted silence is broken only by the subtle crackles of the fire and distant drips of water that echo around the space. You’re alone, but feel the presence of those who have stood in this place before you.

Open your eyes. The darkness is encompassing, and the warm glow of firelight desperately tries to illuminate the vast space around you. It is almost impossible to distinguish anything. As you gingerly move forward, feeling your way through the dark, the flickering light cast from your torch partially illuminates a peculiar formation on the cave wall.

Our vision can rarely be trusted. Far from faithfully reproducing an accurate image of the world around us, our visual system selectively focuses on important information in our environment. As you read the words in this article, your eyes are rapidly flicking between different letters, as your visual system is making educated guesses about what each of the words says. This means that lteters can appaer out of oredr, but you can still read them with relative ease. Your surroundings are not the focus of your attention right now, and your visual system is making a fundamental assumption that these surroundings will remain mostly static. In your peripheral vision, a significant amount of visual information can change without your knowledge; colours can shift, and objects themselves can completely change their form. Only movement appears to be readily detected by peripheral vision, presumably so as not to render us completely inert when danger approaches and our attention is focused elsewhere. Visual illusions play on exactly these processes, demonstrating how unfaithful our vision truly is in relaying an unbiased representation of our surroundings.

All of us have perceived twisting tree trunks in dim light as unusual creatures emerging from the darkness

The reason behind this selectivity in our visual attention is not some flaw in human evolution, but the opposite. By focusing attention and making educated guesses about missing information, we can rapidly process visual information and sharpen our gaze on only the most salient pieces of information in our visual sphere. This is intrinsically informed by our lived experience of the world. As elegantly framed by the neuropsychologist Chris Frith in his book Making Up the Mind (2007), what we perceive is ‘not the crude and ambiguous cues that impinge from the outside world onto [our] eyes and [our] ears and [our] fingers. [We] perceive something much richer – a picture that combines all these crude signals with a wealth of past experience.’

Our visual system is thus trained to become expert in certain kinds of visual information that are understood to be important to us. This visual expertise is defined as the ability to holistically process certain kinds of information, so that we identify the individual as rapidly as the group classification; for example, we can identify the identity of an individual person (‘Joolz’) as quickly as we identify that it is ‘a person’ standing in front of us. While it is often culturally determined what kinds of visual information we develop expertise in, we can also consciously develop this ability. Expert birdwatchers, for example, rapidly identify the specific species of bird as quickly as they identify that it is, indeed, a bird that they are looking at. This kind of expertise shapes how the visual system both focuses its attention and fills in the blanks when information is missing.

Pareidolia – a visual phenomenon of seeing meaningful forms in random patterns – seems to be a product of this way in which our visual system selectively focuses on certain visual information and makes assumptions when ‘completing’ the image. Pareidolia is a universal experience; all of us have looked at clouds and recognised faces and animals, or perceived gnarled, twisting tree trunks in dim light as unusual creatures emerging from the darkness. While we might think of these visual images as a mistake – we know there isn’t a large face looming down at us from the clouds – it seems to have emerged as an evolutionary advantage. By assuming that a fragmentary outline is, in fact, a predator hiding in foliage, we can react quickly and avoid a grisly death, even if said predator turns out to be an illusion caused by merely branches and leaves.

This evolutionary advantage is stimulated even further in compromised visual conditions, such as low light. Our visual system kicks into overdrive and uses what we know about the world, formed by our daily lived experience, to fill in missing information. For those of us living in highly populated, socially orientated societies, this means our experience of pareidolia often manifests as faces. We have been culturally trained to focus our visual attention primarily on facial intricacies, rapidly processing the similarities and differences in appearances, or even subtle cues that may indicate an emotional state. This lived experience of an oversaturation of facial information shapes our response to ambiguous visual information: we see faces everywhere.

If we imagine, however, that we lived in small groups within a sparsely populated landscape where our survival depended on the ability to identify, track and hunt animals, we might reasonably expect that our visual system would become attuned to certain animal forms instead. We would be visually trained to identify the partial outlines of animals hiding behind foliage or the distant, vague outlines of creatures far away in the landscape. We would even have an intimate knowledge of their behaviours, how they move through the landscape, the subtle cues of twitching ears or raised heads that indicate they might be alerted to our presence. Our Ice Age ancestors may have therefore experienced animal pareidolia to the same degree that we experience face pareidolia. Where we anthropomorphise and perceive faces, they would have zoomorphised and perceived animals.

‘I s that…?’ You begin to doubt your own eyes. A shadow flickers, drawing your attention to the movement. Cracks, fissures and undulating shapes of the cave wall start to blur in the darkness to form something familiar to your eyes. Under the firelight, it is difficult to distinguish it immediately. As it flickers in and out of view, you start to see horns formed by cracks, the subtle curvature of the wall as muscular features. A bison takes shape and emerges from the darkness.

How do these visual, sensory experiences relate to Ice Age cave art-making? This was the question that burned in my mind during my research. For some time, it has been known that the artists who created animal imagery in caves often utilised natural features, integrating cracks to represent the backs of animals or the varied topography to add a sense of three-dimensionality to their images. The first known cave-art discovery – the bison at Altamira – represents the use of undulating convexities and concavities to give dimension and form to the depictions of bison, which silently lay with their legs curled underneath their bodies on the low cave ceiling. So-called ‘masks’ from this cave and others in the region are further examples of using the natural forms of caves to produce depictions; these often take a formation that appears to be a zoomorphic head and add subtle details of the eyes and nostrils to complete the form. Similarly, subtle animal depictions emerge from natural shapes embedded in cave walls that are enhanced with a few details added by ochre-covered fingers. Thus, far from perceiving the cave wall as a blank canvas, it seems these innovative artists actively used cave features to shape and enrich their depictions.

These striking examples clearly indicate the role of pareidolia in the production of at least some cave-art depictions. The most robust theoretical discussions of the potential role of pareidolia in Ice Age art have been presented by Derek Hodgson. He suggests that the dark conditions of caves would have heightened visual responses, triggering pareidolia or more visceral visual responses such as hyper-images (think of that split second when you perceive a person standing in your room at night, before you realise it’s just your coat hanging on the back of the door). Although compelling, the inherent challenge with these interpretations is that they do not provide empirical evidence – beyond informal observations of the archaeological record – to scientifically test whether pareidolia was indeed informing the making of Ice Age art.

Some even saw the same animal in the same cracks and undulations of the cave wall as depicted by Ice Age people

I wanted to see if there was a way to empirically test whether cave environments do trigger certain visual psychological phenomena. How can we create immersive cave environments that stimulate ecologically valid responses, yet allow us to experimentally control conditions? Since bringing flaming torches into precious Ice Age cave-art sites was absolutely out of the question, virtual reality (VR) seemed to be the natural answer. By recreating the conditions in which Ice Age artists would have viewed cave walls, we could do something that has not been possible previously: see whether people today are visually drawn to the same areas of the cave walls used by ancient artists.

In a recent study published in Nature: Scientific Reports , we did exactly this. We built VR cave environments that integrated 3D models of the real cave walls from sites in northern Spain, and modified the 3D models to remove any traces of the Palaeolithic art. We modified the lighting conditions to replicate the darkness of caves, and gave participants a virtual torch that had the same properties as lighting technologies available to Ice Age artists, to illuminate their surroundings. We asked participants to view the cave walls, and gradually gave more focused questions about whether they would draw anything on the wall, where their drawings would be, and why. Using eye-tracking technology, we were also able to see where the participants were unconsciously focusing their visual attention during the experiment. We hypothesised that both the participants’ experiential responses and their unconscious eye movements would correspond to the same areas of the cave wall that Palaeolithic artists used.

‘What do you see?’ a distant voice echoes out. ‘This crack and the undulating shape of the wall… it looks like a bison, the shape of the cave wall almost completes the head and back of it,’ you reply, and stretch out your hand in the virtual space to trace the shape. Later you find out that this corresponded to the same area a Palaeolithic artist also depicted a bison, using the same natural features that drew your own visual attention.

Our results supported our hypothesis: it seems pareidolia may have played a role in the making of some of the cave-art images. Participants not only experienced pareidolia in response to the cave walls they viewed, but also had this experience in response to the same features that Ice Age artists utilised for their drawings. Some participants had potent responses, where they literally perceived certain animals as already existing on the cave wall in front of them. Others even saw the same animal in the same cracks and undulations of the cave wall as was depicted by Ice Age people – ie, they perceived a bison in the same place as a bison was drawn. Not all of the art had such a convincing relationship with pareidolia, however. In some cases, it seems that pareidolia may not have motivated the making of the art. This is supported by another study we conducted, where we suggest the degree to which pareidolia-informed cave art varied: it was part of a ‘conversation’ that occurred between the artist and the cave wall.

The deep meaning of seeing these animal forms in cave walls and ‘releasing’ them would have undoubtedly varied cross-culturally and temporally. In one instance, it may have been part of powerful rites in the dark, where elusive figures integrated this act within other cultural or cosmological rituals, witnessed by ancestral spirits and the community alike. In another, it may have been a more intimate, discreet engagement between just one individual and the cave wall; the soft whispers of fingers brushing pigment on stone to depict an animal of deep importance to them. The perspective of time may prevent us from ever distinguishing between the two, but the foundations of these actions may have been the phenomenon of pareidolia.

This has significant implications for understanding art-making – its emergence and experience – and not just within the Ice Age. The ability to draw something that exists in four dimensions (with time, expressed as the movement of an animal, representing the fourth dimension) is non-trivial; it requires the complex processing and abstraction of visual information. Pareidolia may have been the mechanism through which figurative representation emerged, scaffolding the ability to draw things two-dimensionally. By seeing hidden forms in cave walls, we learnt how forms can be represented. It may have started as adding subtle details to elucidate the form; a small smear of ochre here or there, and suddenly the animal emerges. As time passed, the potential of using pigment to produce animal representations developed, and gradually more detailed forms were produced on a greater variety of material substrates. It became engrained more and more within every culture and society on Earth, until one day a cave artist drew an animal on a smooth rock surface.

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How perforated squares of trippy blotter paper allowed outlaw chemists and wizard-alchemists to dose the world with LSD

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We need to find a way for human societies to prosper while the planet heals. So far we can’t even think clearly about it

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Guest Essay

Let’s All Take a Deep Breath About China

By Rory Truex

Dr. Truex is an associate professor at Princeton University whose research focuses on Chinese authoritarianism.

The amygdala is a pair of neural clusters near the base of the brain that assesses danger and can help prompt a fight-or-flight response . A prolonged stress response may contribute to anxiety, which can cause people to perceive danger where there is none and obsess about worst-case scenarios.

America’s collective national body is suffering from a chronic case of China anxiety. Nearly anything with the word “Chinese” in front of it now triggers a fear response in our political system, muddling our ability to properly gauge and contextualize threats. This has led the U.S. government and American politicians to pursue policies grounded in repression and exclusion, mirroring the authoritarian system that they seek to combat.

Congress has moved to force the sale of TikTok , the Chinese-owned social media application; some states have sought restrictions on Chinese individuals or entities owning U.S. land and on Chinese researchers working in American universities ; and the federal government has barred certain Chinese technology firms from competing in our markets. These measures all have a national security rationale, and it is not my intention here to weigh the merits of every one. But collectively they are yielding a United States that is fundamentally more closed — and more like China in meaningful ways.

When you are constantly anxious, no threat is too small. In January, Rick Scott, a senator from Florida, introduced legislation that would ban imports of Chinese garlic, which he suggested could be a threat to U.S. national security , citing reports that it is fertilized with human sewage. In 2017, scientists at McGill University wrote there is no evidence that this is the case. Even if it was, it’s common practice to use human waste, known as “biosolids,” as fertilizer in many countries, including the United States.

More recently, Senator Tom Cotton and Representative Elise Stefanik introduced legislation that would bar the Department of Defense from contracting with Tutor.com, a U.S.-based tutoring company, on the grounds that it poses a threat to national security because it was purchased by Primavera Capital Group, an investment firm based in Hong Kong. Their argument is that this could give the Chinese government backdoor access to the tutoring sessions and personal information of American military personnel who use the firm’s service.

The legislation does not mention that Tutor.com’s student data is housed in the United States , that it volunteered for a security review by the federal Committee on Foreign Investment in the United States and that it created additional levels of data security protection in coordination with the U.S. government. The bill also does not specify how exactly the Chinese government would get access to Tutor.com’s data or what use it would actually have for information on the tutoring sessions of U.S. military personnel.

Last summer, several Republican lawmakers cried foul over the “Barbie” movie because a world map briefly shown in the background of one scene included a dashed line. They took this as a reference to China’s “nine-dashed line,” which Beijing uses to buttress its disputed territorial claims in the South China Sea. According to Representative Jim Banks, this is “endangering our national security.” The map in the movie is clearly fantastical, had only eight dashes and bore no resemblance to China’s line. Even the Philippine government, which has for years been embroiled in territorial disputes with China in the South China Sea, dismissed the controversy and approved the movie’s domestic release.

Of course, the United States should actively confront President Xi Jinping of China about his repression at home and aggression abroad. As a scholar of China’s political system, I worry about how Mr. Xi has made his country even more authoritarian; about increasing human rights abuses in China, particularly those directed at the Uyghur population in Xinjiang ; about Beijing’s crackdown on Hong Kong, its threats toward Taiwan, its increasingly cozy relationship with Russia and its support for the war in Ukraine . America must remain alert to legitimate concerns about well-documented Chinese activities such as espionage and cyberattacks.

But should our policymakers really be focusing on Tutor.com, Chinese garlic or “Barbie”? Or should they concentrate on the more serious threats posed by China’s authoritarian system, or the many other issues that meaningfully affect the day-to-day lives of Americans?

Perhaps the most worrisome effect is that China anxiety is slowly creeping toward discrimination against Chinese Americans, a new “yellow peril.” We’ve already seen how an initiative begun during the Trump administration to target Chinese espionage led to unfair scrutiny of Chinese researchers and even Asian American government employees, leading to the program being terminated in 2022. And we saw how xenophobia during the pandemic triggered threats and attacks against Asian Americans. There also have been numerous reports of law enforcement officials interrogating Chinese students and researchers traveling to and from China on the grounds that they may be agents of the Chinese state. Again, this treatment — being brought in for questioning by the police or government officials — is something foreign scholars experience in China , where it is euphemistically referred to as “being invited for tea.”

Last year, state legislators in Texas proposed a bill that initially sought to prevent Chinese (as well as Iranian, North Korean and Russian) citizens and entities from buying land, homes or other real estate, citing concerns about the security of the food supply. Putting aside the fact that Chinese citizens are not the Chinese government, the actual amount of American farmland owned by Chinese entities is negligible — never exceeding 1 percent of farmland in any given American state as of 2021. The bill ultimately failed , but only after substantial pushback from the Chinese American community.

This China panic, also stirred up by both liberal and conservative U.S. media, may be influencing how average people perceive their fellow Americans of Chinese heritage. Michael Cerny, a fellow China researcher, and I recently surveyed over 2,500 Americans on the question of whether Chinese Americans who were born in the United States should be allowed to serve in the U.S. intelligence community. Roughly 27 percent said Chinese Americans’ access to classified information should be more limited than for other U.S. citizens, and 14 percent said they should be allowed no access at all.

This is overt racism, and while not the majority opinion, it is concerning that so many Americans are blurring the line between the Chinese government and people of Chinese ethnicity, mirroring the language of our politicians.

China is a formidable geopolitical rival. But there is no world in which garlic, “Barbie” or a tutoring site poses meaningful threats to American national security. Labeling them as such reveals a certain lack of seriousness in our policy discourse.

If the United States is to properly compete with China, it’s going to require healthy, balanced policymaking that protects U.S. national security without compromising core American values.

Let’s take a deep breath.

Rory Truex (@rorytruex) is an associate professor of politics and international affairs at Princeton University, where he teaches courses on Chinese politics and authoritarian rule.

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