The city of London has loads to offer art lovers and the best thing is that it is virtually all free to explore. The art industry is huge in Britain, with collections from artists all over the world available to view in London's galleries and at exhibitions. The city is also home to a lot of British art, so when you are next in the capital why not check some of it out. There are a range of galleries to choose from. The Tate Modern, which is found on the South Bank of the Thames, has the world's biggest collection of Modern Art. Its free to enter and has two huge floors which contain a range of art work including abstract pieces, such as piles of bricks and canvases with random splodges of paint. There is the national gallery on the north side of Trafalgar Square. It has a wide collection of Western European art which dates back to from the middle ages, to the early 20th century. Again it is free to enter and with so much on offer it is worth splitting your visit into two trips. The Tate Britain is on the north side of the Thames not far from Victoria Bridge. If you fancy arriving in style you can get a river bus to the Tate Britain which also travels across the river to the Tate Modern. The gallery is the home of British art dating back from the 1500 to the present day. For those that are new to the arts scene you can get an art guide for a small fee. One other place worth visiting is the National Portrait Gallery. Home to a huge collection of portraits which include those of Kings, Queens and other influential historical figures, the gallery is unique it what it offers visitors. When it opened in 1856, it was the first portrait gallery in the world. Since then it has been expanded twice and one of the gallery's most famous portraits is of William Shakespeare.
Arman Kohlar is freelance article specialist who writes articles on Art Events and Art Workshops. For more information on Art fairs and London Exhibitions please visit www.artcalendr.com
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Developmental Learning in Art
Human developmental theories can be found in education, society, and even in peace research: cognitive, developmental, social learning, and socio-cultural developmental theories all have contributed to the educational system that is present today in the United States of America. Researchers such as Darwin, Freud, Erickson, Piaget, Watson, Skinner, Kohlberg, Bandura, Vygostsky, Bowlby, Bronfenbrenner, Gilligan, among many other scientists have done extensive research that today has influenced education throughout the content areas. The purpose of this article is to analyze two human development theories and create a lifelong learning curriculum for the art education throughout the lifespan of a learner.
Cognitive Developmental Theory
To understand is to invent, or to reconstruct by reinventing.
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"Art is a lie that makes us realize truth.”- Pablo Picasso
What kind of lie does contemporary art support today?
What kind of truth are we realizing through the contemporary art?
Contemporary scene of visual art resembles the space filled with broken mirrors, where images reflect each other in the multidimensional sphere of media circus. The technique of cataloguing and classification, creation of categories, could serve as the key to the mapping and understanding of complexity of the multitude of approaches and streams that exists in today’s global art scene. Criteria for both, the creation and the selection are borrowed from random structures, and theoretically are questioning relevance of the evolution of art.
The initial categories for the whole system are those of matter and consciousness. They provide the trunk from which all the various branches of the other categories stem. All elements are so interconnected that, each can only be understood as an element of the whole. -Dialectical Materialism (A. Spirkin)
Determination of the significance of styles or tendencies, of the main art stream, groups or any other structures, will become irrelevant in near future. “Anything goes” was replaced by “And What?” With all the information and tools available today, everybody could become an artist. People of all professions are playing with new media. Does Garage Band make a musician, or graphic software a designer, or using digital camera a photographer? New technologies create a game where in competitive manner consequently everybody wants to win. Winning in art, means also experience “15 minutes of world-fame” and becoming a “superhero.” Consumer society deals with superficial substitution for happiness. Who is going to watch the game if everybody plays. Fortunately we can not play at the same time. Audience varies from small groups (family members and friends) to large social groups. In larger social communities, like national structures, demand for “heroes-artists” diminishes and culture is broken into small pieces of individualized performances of regional character. Researching tendencies of art scene behavior in context of contemporary philosophy of art we tend to accept a concept, that everybody is or could be an artist. The meaning, importance and consequences of such mind stream are very profound and have a great impact on cultural and social live. Why? It requires dropping the concept of conceptual thinking.
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The Indian contemporary art has indeed able to showcase the complexities that India has lived with and continues to brave still today. Here, it is worth asking what constitutes Indian contemporary art for it to represent an India as truly as possible and also, what constitutes the India, for its people to produce the art that truly represent the India that they live in. These questions would certainly able to explain what the Indian art up to certain level, if not entirely. In fact, the very effort the profile the whole gamut of Indian art is fraught with uncertainties. But to understand the art of a certain country, we first need to understand its people and of course the land itself in its true essence, including the natural features and seasonal attributions.
If art itself is the manifestation of human intellect in the forms of creations and imitations that arouse our esthetic senses for a better understanding of life and its deeper meaning, then the collective Indian art has always been the perfect representation of a vibrant India through its civilizations to present day India. More importantly, these very complexities have able to nourish various art forms. These art forms, in a way have become the living embodiment of India's connection with the other major civilizations. In fact, studying Indian history will never be complete without knowing Indian art. More so with the Indian art imbued with both the Western and Oriental art forms and movements, it has become the perfect representation of what constitutes the India. And rightly so, the Indian art constitutes every aspects of a vibrant India; in its truest colours, that Indians have able to preserve through the ages.
The importance of Indian art is evident in the scores of modern art galleries flourishing in Indian cities. What keeps alive these galleries alive and relevant in today's world is in itself the answer to its own question. The differences, the values and the very notion of a nation that bound India as a cultural entity would have never been able to capture without art. And it would have been gross injustice to its people had there been only a single art form to represent what India actually looks like and what Indian feels. Thus, we have these numerous art forms occupying very important positions in our society. This fact, partially answers what constitutes Indian art. Indian art is what Indians feels. This, in a way, helps each of us to appreciate the Indian art as we have never able to understand the complexities that we live with for being an Indian. This is the esthetics that we seek to understand through the art.
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