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Art and Essay Contest 2022 applications have started!

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We are seeking submissions exploring the importance of mental health and wellness, including taking care of ourselves and our minds. Mental Health has never been more crucial to our lives. Stress, anxiety, depression, sadness, anger, loneliness, isolation, fear are all emotions we have felt and continue to feel during the pandemic. On the other hand, we are also experiencing an increase in awareness about the importance of taking care of ourselves. From gymnasts to actors, from singers to other celebrities, people are speaking up about the need to take care of themselves. Through solidarity and support, we are trying to heal as individuals, communities, and as a nation. We welcome students to approach this subject through their own experience (to the extent of their comfort), or what they encounter about mental health around them. Click to apply!

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The Most Important Art Essays of the Year

What were the ideas that had everyone talking?

Atmosphere from the Zombie Formalism panel.

It was an eventful year for art writing, with plenty of shifts in the landscape, as new publications opened (including this one), or popped up , or reinvented themselves . But beneath all the institutional shuffles, what were the ideas that got people excited? To try to answer that question, I polled colleagues, but the final selection below is obviously a personal one. It reflects the world around me, and is weighted towards pieces that reflect my own location and  my own sense of this year’s troubled qualities .  In any case, here are a few of the pieces of writing that I think are touchstones of 2014:

Holland Cotter, “ Lost in the Gallery-Industrial Complex, ” New York Times , January 17, 2014 It’s a little crazy to me that Cotter’s fretful, sweeping state-of-the-scene piece is already a year old. But it stands in here for all the angst of money in a year of record auction prices and continued angst about inequality .

Jason Farago, “ Learning to Live With MoMA ,” Frieze blog, January 17, 2014 Amid all the outcry around MoMA’s annexation of the Folk Art Museum building, Farago did the best, to my taste, of getting to the heart of what was really at stake by placing it within the longer arc of change in the museum’s identity going back to its failed encounter with Rem Koolhaas.

Christian L. Frock, “ Priced Out: New Tech Wealth and San Francisco’s Receding Art Scene ,” KQED, February 7, 2014 Frock’s multipart series (here’s the second: “ Priced Out: San Francisco’s Changing Values and Artist Exodus “) captured the voices of a Bay Area arts community trying to stay afloat in a sea of “disruptive” tech money, but testifies to a conversation artists were having seemingly everywhere artists were found (see also Jen Graves’s “ How Artists Can Fight Back Against Cities That Are Taking Advantage of Them ”).

Trevor Paglen, “ Overhead: New Photos of the NSA and Other Top Intelligence Agencies Revealed ,” Creative Time Reports, February 10, 2014 If you haven’t been paying attention to what Marisa Mazria Katz has been up to for the last two years at Creative Time Reports —essentially, supporting artists in finding new ways to cover the news—you should be. In February, the publication teamed up with The Intercept to launch this Paglen photo essay, serving up images that immediately became a kind of visual shorthand for the sinister powers of government surveillance in the age of Snowden.

Walter Robinson, “ Flippers and the Rise of Zombie Formalism ,” Artspace Magazine, April 3, 2014 If there is an essay that touched off more discussion this year, then I can’t think of what it was. The tongue-in-cheek “Zombie Formalism” label, applied either to that funky-junky art-school look or used as a diagnosis of an art world obsessed with “artificial milestones” and the “simulacrum of originality” in general, is now lodged deep in the conversation .

Eunsong Kim and Maya Isabella Mackrandilal, “ The Whitney Biennial for Angry Women ,” The New Inquiry, April 4, 2014 This unsparing, percussive manifesto denouncing the Biennial and the art establishment in general set the stage for many of the debates of the year. It was, as the authors summed it up in their conclusion, “[a] demand for the impossible: decolonization, decentering, radical thinking, radical action, radical making.”

Helen Molesworth, review of the Whitney Biennial , Artforum , May 2014 The Whitney Biennial always draws fire. But this is really less of a review than a curator’s series of frustrated questions for her peers about the profession and its fundamental aims.

Jamilla King, “ The Overwhelming Whiteness of Black Art ,” Colorlines, May 21, 2014 This is one from well outside the regular circle of art coverage—but King’s thoughtful piece about Kara Walker’s A Subtlety  and the demographics of the art audience opened up a conversation that reverberated throughout the piece’s run, culminating with “We Are Here,”  an event for people of color to view Walker’s work together, to experience it as the majority.

Rahel Aima, “ Christian Marclay Goes to Bollywood ,” The New Inquiry, May 21, 2014 Christian Marclay’s epoch-making The Clock toured the world telling the story of a day through film clips culled mainly from Western film. He follows it up with  a supercut of Bollywood dream sequences set in Switzerland , destined to be shown in a chairlift in Gstaad, and Aima considers the cultural asymmetries and structures of power that this makes visible.

Christopher Glazek, “ Shopkeepers of the World Unite ,” Artforum , June 2014 A sympathetic and convincingly intricate account of the rise of the artists around DIS magazine, making a case for the new Post-Internet cool school while still remaining just critical enough to convince yourself that you were seeing it plain.

Molly Crabapple, illustration for Slaves of Happiness Island. Courtesy of the artist and Vice

Molly Crabapple, “ Slaves of Happiness Island ,” Vice, August 4, 2014 A neat feat of first-person journalism, this piece recounts one artist’s voyage onto the site of the soon-to-be built Guggenheim Abu Dhabi to see for herself what labor conditions looked like there. With the main and most demanding construction still to come, Crabapple talked to a worker laying the infrastructure for the new institution: “I don’t know how much longer I can go on like this. My body is on the verge of giving up, but I cannot leave my job because I am responsible for my sisters.”

John Yau, “ Andy Warhol and Jeff Koons and the Culture of Hyperbole ,” Hyperallergic, August 17, 2014 Taking a long look at the deep values of today’s Koons craze, Yau finds that they amount to this: “to be out of the mainstream is in fact a mark of imperfection.”

Whitney Kimball, “ How Do People Feel About the Gramsci Monument, One Year Later? ,” Art F City, August 20, 2014 A year after artist Thomas Hirschhorn’s pop-up community center won plaudits and raised hackles at a Bronx housing project, Kimball returns to ask people in the neighborhood what good it left behind—the kind of follow-up that almost never happens. The answers she finds are probably neither positive nor negative enough to satisfy pro-or-anti-Monument camps, which is part of what makes the exercise important.

Carolina Miranda, “ Art and race at the Whitney: Rethinking the Donelle Woolford debate ,” Los Angeles Times , June 17, 2014 It’s hard to sum up what makes this article important, given everything that’s involved: the Whitney Biennial, a black artist collective’s decision to publicly leave the show in protest of perceived racism , and the artist Joe Scanlan’s work made in the persona of a fictional African-American artist, Donelle Woolford. By interviewing Jenn Kidwell, the actress involved in Scanlan’s work, Miranda added important nuance to a very difficult conversation about race, racism, and art.

Jeff Chang, “ Color Theory: Race Trouble and the Avant Garde ,” n+1 , Fall 2014 Can’t Stop, Won’t Stop author Jeff Chang’s deeply researched, penetrating beat-by-beat account of a 1979 scandal at Artists Space around the artist known as Donald and his so-called “ Nigger Drawings ” (it’s an excerpt from his new book, Who We Be ) unearths all sides of a painful chapter in recent art history. Given the year that we’ve had (see above), its lessons couldn’t feel more relevant.

Assorted essays on contemporary art and feminism , edited by Kara L. Rooney, The Brooklyn Rail , September 2014 There are individual essays here that have stuck with me as offering particularly useful ways to grasp the question of feminism in art today (Chloe Wyma’s “ Lean Back: Resisting Branded Feminism ” is one that I find myself quoting a lot). But the collection of writings in the Rail ‘s special section on the subject is also eclectic, which maybe makes it more useful as a snapshot of the unsettled nature of the present conversation.

Mira Schor, “ The Feminist Wheel ,” A Year of Positive Thinking, September 20, 2014 An exasperated rant from inside Mira Schor’s head (and Twitter feed) at The Hole’s “Future Feminism” show takes on larger significance as a reflection on the difficulty of staying true to hard-earned—and needed—feminist principles while not missing out on the “utopian ebullience” of more recent arrivals.

Roberta Smith, “ In a Mattress, a Lever of Art and Protest ,” New York Times , September 21, 2014 In protest over institutional ineptitude around sexual assault , Columbia art student Emma Sulkowicz launched Carry That Weight , vowing to carry a mattress around campus until the man she says raped her leaves. The artistic protest touched off a deafening roar of media coverage of the “hot takes” type—so there was something significant about one of the country’s most authoritative art critics stepping up to explain why this work of protest-as-performance was worth your actual considered attention.

Mostafa Heddaya, “ Delusions of Grandeur: GCC at MoMA PS1 and the New Museum ,” Hyperallergic, September 26, 2014 This is an adept polemic about the buzzy “ Gulf Futurism ” of the art group GCC —and through it, a reflection on what strategies of political art might be viable today.

Art Post-Internet , edited by Karen Archey and Robin Peckham, October 2014 If you are one of those people who this year realized that you suddenly had to have something to say about “Post-Internet” art, this sprawling pamphlet with contributions from artists, academics, curators, and writers (including me) is as fine a place to start as any. In a neat Post-Internet touch, each PDF is a “unique” edition, stamped with a number and record of your location and the weather where you were at the moment you hit download.

Andrew Berardini, “ How to Write About Contemporary Art ,” Momus, October 15, 2014 This year, Toronto-based writer Sky Goodden launched  Momus.ca , an online art platform that bills itself as a “return to art criticism.” Berardini’s essay on the petty indignities and strange detours of a life of writing about art is probably my favorite piece on this list. I can’t do it justice, so just go read it.

Brian Droitcour, “ The Perils of Post-Internet Art ,” Art in America , November 2014 You know something has become a thing when it starts to draw the kind of sustained intellectual attack that Droitcour levels at the avatars of Post-Internet art, framing the whole trend as an attempt to recapture the web’s anarchic energies for the professional gallery world rather than a step into some new realm beyond it.

Philip Kennicott, “ An art loan from Bill Cosby draws the Smithsonian into a national debate ,” The Washington Post , November 20, 2014; Jillian Steinhauer, “ What Should the Smithsonian Do About Its Show of Bill Cosby’s Art Collection? ,” Hyperallergic, November 20, 2014; Kriston Capps, “ Why Is the Smithsonian Standing Behind Bill Cosby? ,” The Atlantic , November 21, 2014 The fallout from the allegations against Bill Cosby is far from over, but at year’s end, it provoked a series of excellent articles that went beyond the immediate scandal to look at the responsibilities of art institutions and the ethical traps of showcasing private collections.

Victor Merida, “ Excited Delirium: Graffiti and Miami ,” The Miami Rail , Winter 2014 Some sober, sobering reflections on graffiti art’s place in the branding of Miami, made more resonant by the tragic death of the young artist Israel “REEFA” Hernandez last year at the hands of the police.

Pac Pobric, “ Sturtevant’s Provincialism ,” Los Angeles Review of Books , December 18, 2014 There’s just something about a righteously pissed-off review, right? And while this year will be remembered as one where everyone once again proved their seriousness by lining up to take shots at Jeff Koons , here’s one that goes after a target that’s more difficult to pin down.

Mel Chin, “ Miley, Eric and Me: Basel’s Dazzle and the Dark Death Around Us ,” Creative Time Reports, December 18, 2014 I’m not sure I could believe that anything that great came of Miley Cyrus’s coronation as an art star at Art Basel in Miami Beach. But this soul-searching essay did come of it, which is definitely worth something.

Special mentions:

W.A.G.E. Wo/Manifesto This is a bullet-pointed call for change, from the group that calls for a new social contract between art institutions and artists.

Not That This! Nathaniel Donnett’s blog focusing on adding coverage of the African-American art scene in Houston not only adds a needed perspective, but does so in experimental ways; for instance, using poetry . It just won an Idea Fund grant to expand and make its coverage more regular, so keep it bookmarked.

Christian Viveros-Fauné and Blake Gopnik, “ Strictly Critical ” video series, artnet News, and Casey Jane Ellison, “ Touching the Art ,” Ovation TV Having seen many, many attempts to make art-themed videos work over the years, I know how hard it is—but this year brought two strong contenders. Viveros-Fauné and Gopnik perfected a Siskel and Ebert routine that made it seem suddenly fun and interesting to debate art, not a chore. Meanwhile, Ellison, whose Twitter bio describes herself as “artist + comic with a mole on her face,” brought her own alluringly wacky touch to bear on Ovation’s art-themed chat show.

Raphael Rubinstein, The Miraculous (Paper Monument) Here’s another outlier because it is a book and not an essay, strictly speaking, which opens up a whole other can of worms . But, in terms of things I read this year that really made me rethink how I looked at contemporary art, this one particularly affected me . So it stays on! If you still need a gift for an art lover, this is it.

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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/.

Defining ‘Art’

Basic Composition Techniques

A few easy tips

Introduction to Art

30,000 years of human creativity

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Art History Analysis – Formal Analysis and Stylistic Analysis

Typically in an art history class the main essay students will need to write for a final paper or for an exam is a formal or stylistic analysis.

A formal analysis is just what it sounds like – you need to analyze the form of the artwork. This includes the individual design elements – composition, color, line, texture, scale, contrast, etc. Questions to consider in a formal analysis is how do all these elements come together to create this work of art? Think of formal analysis in relation to literature – authors give descriptions of characters or places through the written word. How does an artist convey this same information?

Organize your information and focus on each feature before moving onto the text – it is not ideal to discuss color and jump from line to then in the conclusion discuss color again. First summarize the overall appearance of the work of art – is this a painting? Does the artist use only dark colors? Why heavy brushstrokes? etc and then discuss details of the object – this specific animal is gray, the sky is missing a moon, etc. Again, it is best to be organized and focused in your writing – if you discuss the animals and then the individuals and go back to the animals you run the risk of making your writing unorganized and hard to read. It is also ideal to discuss the focal of the piece – what is in the center? What stands out the most in the piece or takes up most of the composition?

A stylistic approach can be described as an indicator of unique characteristics that analyzes and uses the formal elements (2-D: Line, color, value, shape and 3-D all of those and mass).The point of style is to see all the commonalities in a person’s works, such as the use of paint and brush strokes in Van Gogh’s work. Style can distinguish an artist’s work from others and within their own timeline, geographical regions, etc.

Methods & Theories To Consider:

Expressionism

Instructuralism

Postmodernism

Social Art History

Biographical Approach

Poststructuralism

Museum Studies

Visual Cultural Studies

Stylistic Analysis Example:

The following is a brief stylistic analysis of two Greek statues, an example of how style has changed because of the “essence of the age.” Over the years, sculptures of women started off as being plain and fully clothed with no distinct features, to the beautiful Venus/Aphrodite figures most people recognize today. In the mid-seventh century to the early fifth, life-sized standing marble statues of young women, often elaborately dress in gaily painted garments were created known as korai. The earliest korai is a Naxian women to Artemis. The statue wears a tight-fitted, belted peplos, giving the body a very plain look. The earliest korai wore the simpler Dorian peplos, which was a heavy woolen garment. From about 530, most wear a thinner, more elaborate, and brightly painted Ionic linen and himation. A largely contrasting Greek statue to the korai is the Venus de Milo. The Venus from head to toe is six feet seven inches tall. Her hips suggest that she has had several children. Though her body shows to be heavy, she still seems to almost be weightless. Viewing the Venus de Milo, she changes from side to side. From her right side she seems almost like a pillar and her leg bears most of the weight. She seems be firmly planted into the earth, and since she is looking at the left, her big features such as her waist define her. The Venus de Milo had a band around her right bicep. She had earrings that were brutally stolen, ripping her ears away. Venus was noted for loving necklaces, so it is very possibly she would have had one. It is also possible she had a tiara and bracelets. Venus was normally defined as “golden,” so her hair would have been painted. Two statues in the same region, have throughout history, changed in their style.

Compare and Contrast Essay

Most introductory art history classes will ask students to write a compare and contrast essay about two pieces – examples include comparing and contrasting a medieval to a renaissance painting. It is always best to start with smaller comparisons between the two works of art such as the medium of the piece. Then the comparison can include attention to detail so use of color, subject matter, or iconography. Do the same for contrasting the two pieces – start small. After the foundation is set move on to the analysis and what these comparisons or contrasting material mean – ‘what is the bigger picture here?’ Consider why one artist would wish to show the same subject matter in a different way, how, when, etc are all questions to ask in the compare and contrast essay. If during an exam it would be best to quickly outline the points to make before tackling writing the essay.

Compare and Contrast Example:

Stele of Hammurabi from Susa (modern Shush, Iran), ca. 1792 – 1750 BCE, Basalt, height of stele approx. 7’ height of relief 28’

Stele, relief sculpture, Art as propaganda – Hammurabi shows that his law code is approved by the gods, depiction of land in background, Hammurabi on the same place of importance as the god, etc.

Top of this stele shows the relief image of Hammurabi receiving the law code from Shamash, god of justice, Code of Babylonian social law, only two figures shown, different area and time period, etc.

Stele of Naram-sin , Sippar Found at Susa c. 2220 - 2184 bce. Limestone, height 6'6"

Stele, relief sculpture, Example of propaganda because the ruler (like the Stele of Hammurabi) shows his power through divine authority, Naramsin is the main character due to his large size, depiction of land in background, etc.

Akkadian art, made of limestone, the stele commemorates a victory of Naramsin, multiple figures are shown specifically soldiers, different area and time period, etc.

Iconography

Regardless of what essay approach you take in class it is absolutely necessary to understand how to analyze the iconography of a work of art and to incorporate into your paper. Iconography is defined as subject matter, what the image means. For example, why do things such as a small dog in a painting in early Northern Renaissance paintings represent sexuality? Additionally, how can an individual perhaps identify these motifs that keep coming up?

The following is a list of symbols and their meaning in Marriage a la Mode by William Hogarth (1743) that is a series of six paintings that show the story of marriage in Hogarth’s eyes.

• Man has pockets turned out symbolizing he has lost money and was recently in a fight by the state of his clothes.
• Lap dog shows loyalty but sniffs at woman’s hat in the husband’s pocket showing sexual exploits.
• Black dot on husband’s neck believed to be symbol of syphilis.
• Mantel full of ugly Chinese porcelain statues symbolizing that the couple has no class.
• Butler had to go pay bills, you can tell this by the distasteful look on his face and that his pockets are stuffed with bills and papers.
• Card game just finished up, women has directions to game under foot, shows her easily cheating nature.
• Paintings of saints line a wall of the background room, isolated from the living, shows the couple’s complete disregard to faith and religion.
• The dangers of sexual excess are underscored in the Hograth by placing Cupid among ruins, foreshadowing the inevitable ruin of the marriage.
• Eventually the series (other five paintings) shows that the woman has an affair, the men duel and die, the woman hangs herself and the father takes her ring off her finger symbolizing the one thing he could salvage from the marriage.

Watch as Japan’s surplus trees are transformed into forest-tinted crayons

An artist endeavours to bring the Moon down to Earth in a ritual of yearning

Creating art that was aware of itself – and the viewer – made Manet the first modernist

Life stages

What Michelangelo’s late-in-life works reveal about his genius – and his humanness

Beauty and aesthetics

All aquiver

The Decadent movement taught that you should live your life with the greatest intensity – a dangerous and thrilling challenge

Design and fashion

Sitting on the art

Given its intimacy with the body and deep play on form and function, furniture is a ripely ambiguous artform of its own

Emma Crichton Miller

Archaeology

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

Izzy Wisher

The peculiar beauty of a song caught between composition and improvisation

‘If you’re creative, why can’t you create a solution?’ One artist’s imaginative activism

More than breathtaking, ‘The Birth of Venus’ signalled an aesthetic revolution

Rituals and celebrations

The spectacular Mardi Gras artworks born of a unique New Orleans tradition

The overlooked polymath whose theatrical oeuvre made all of Rome a stage

The irreverent duo who thumbed their noses at the Soviet Union and the US art world

Why a forcefully phallic portrait of Henry VIII is a masterful work of propaganda

From spark of inspiration to final press – how William Blake built a book of poetry

Animals and humans

An artist and ants collaborate on an exhibit of ‘tiny Abstract Expressionist paintings’

Inside the unique creative space where ‘outsider’ artists find their form

Why European artists shifted their focus from power to peasants in the 16th century

Negative capability

When it comes to our complicated, undecipherable feelings, art prompts a self-understanding far beyond the wellness industry

Aparna Chivukula

Earthly delights

Noticing first one then many parrots, peacocks, owls and more birds in Old Master paintings taught me to truly see the world

Leanne Ogasawara

From a pencil sketch to cherubs dancing in stone – recreating a Donatello work

All those naked Greeks…

Men in ancient Greek art exercise, fight battles, pursue lovers and mourn lost friends, all without their pants on. Why?

Sarah Murray

Stories and literature

What makes John Keats’s ‘Ode on a Grecian Urn’ so enduringly powerful?

Dance and theatre

How a Noh mask-maker summons a lifelike face from a single block of wood

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.

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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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Latah County Human Rights Task Force

Strengthening the bonds of community to embrace diversity and reject bigotry..

Art and Essay Contest

Each year a topic concerning human rights is chosen with grade-specific contest parameters.  The information below is provided for the 2023-24 contest.

LATAH COUNTY HUMAN RIGHTS TASK FORCE 2023-24 MARTIN LUTHER KING ART AND ESSAY CONTEST THEME: FREEDOM OF EXPRESSION AND OUR LIBRARIES

Started in 2010

Peace Islands Institute

13th Contest 2023

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Essay Papers Writing Online

Ultimate guide to crafting a stellar essay.

Writing an outstanding essay requires more than just knowledge of the subject matter. It involves a combination of critical thinking, creativity, and effective communication skills. Whether you’re a student looking to ace your academic assignments or a professional seeking to craft persuasive writings, mastering the art of essay writing is essential for success.

In this comprehensive guide, we will explore proven tips and techniques to help you enhance your writing skills and produce stellar essays that captivate your readers and convey your ideas effectively. From selecting a compelling topic to structuring your arguments and polishing your prose, you’ll learn the secrets to crafting essays that stand out from the rest.

Tips for Crafting an Outstanding Essay

1. Understand the essay prompt: Start by carefully reading and understanding the essay prompt. Make sure you know exactly what is being asked of you before you begin writing.

2. Develop a strong thesis statement: Your thesis statement is the central argument or main point of your essay. Make sure it is clear, concise, and well-supported throughout your writing.

3. Create an outline: Before you start writing, create an outline to organize your thoughts and structure your essay. This will help you stay focused and ensure your essay flows logically.

4. Use strong evidence: Back up your arguments with concrete evidence, examples, and research. This will add credibility to your essay and demonstrate your understanding of the topic.

5. Edit and revise: Don’t forget to edit and revise your essay before submitting it. Check for grammar and spelling errors, clarity of ideas, and coherence of your arguments.

6. Be original: Avoid plagiarism by citing your sources properly and expressing your own ideas in a unique and engaging way. Make sure your essay reflects your own voice and perspective.

Understand the Assignment Requirements

Before you start writing your essay, it’s crucial to thoroughly understand the assignment requirements. Take the time to read the prompt carefully and make sure you grasp what is being asked of you.

Pay attention to:

• The topic: Make sure you understand the main subject or question you are expected to address in your essay.
• The format: Check if there are specific formatting guidelines you need to follow, such as font size, spacing, and citation style.
• The word count: Determine the length requirements for your essay and make sure you stay within the word limit.
• The deadline: Note the due date for your essay and plan your writing process accordingly.

By understanding the assignment requirements thoroughly, you can ensure that your essay meets all the necessary criteria and impresses your readers.

Conduct Thorough Research

Before you start writing your essay, it’s crucial to conduct thorough research on the topic. Take the time to gather information from reliable sources such as books, academic journals, and reputable websites. Make sure to critically analyze the information you find and take detailed notes to use as evidence in your essay.

Tip: Utilize online databases and libraries to access a wide range of scholarly articles and studies related to your topic.

Remember: The more research you conduct, the more informed and well-supported your arguments will be in your essay.

Develop a Strong Thesis Statement

A strong thesis statement is the foundation of a well-written essay. It serves as the main argument or central point of your paper, guiding your reader through your thoughts and analysis. Here are some tips to help you develop a strong thesis statement:

Organize Your Ideas Effectively

When writing an essay, it is crucial to organize your ideas effectively to ensure clarity and coherence in your writing. Here are some tips to help you structure your essay:

1. Outline your main points: Before you start writing, create an outline of the main points you want to discuss in your essay. This will help you stay focused and ensure that your essay has a clear structure.

2. Use transitions: Use transitions to connect your ideas and guide the reader through your essay seamlessly. Transition words and phrases can help create a smooth flow between paragraphs and sections.

3. Group related ideas together: Organize your ideas logically by grouping related points together. This will help you create a cohesive argument and make it easier for your readers to follow your line of thinking.

4. Start with a strong introduction: Begin your essay with a strong introduction that clearly outlines your main argument and sets the tone for the rest of your paper. This will grab your reader’s attention and establish the purpose of your essay.

5. Conclude effectively: End your essay with a strong conclusion that summarizes your main points and reinforces your argument. A well-crafted conclusion will leave a lasting impression on your readers and tie together all the ideas you have discussed.

Support Your Arguments with Evidence

One of the key elements of writing a stellar essay is supporting your arguments with evidence. Without solid evidence, your arguments may lack credibility and persuasiveness. Here are some tips on how to effectively support your arguments:

Cite reputable sources: When making a claim or stating a point, it is important to back it up with evidence from credible sources. This could include academic journals, books, scholarly articles, and reputable websites. Make sure to cite your sources properly to give credit where credit is due.

Use data and statistics: Numbers and statistics can add weight to your arguments and make them more persuasive. When possible, use data to support your claims and provide concrete evidence to back up your points.

Include examples: Providing examples can help illustrate your arguments and make them more relatable to the reader. Personal anecdotes, case studies, and specific examples can help solidify your points and make your arguments more convincing.

Anticipate counterarguments: Addressing potential counterarguments can strengthen your arguments by showing that you have considered different perspectives. Acknowledge opposing viewpoints and provide evidence to refute them, demonstrating that your argument is well-reasoned and supported.

By supporting your arguments with evidence, you can create a strong and compelling essay that effectively conveys your ideas to the reader.

Polish Your Essay with Editing and Proofreading

Once you have written your essay, it’s time to polish it with editing and proofreading. This crucial step can make a significant difference in the quality of your writing. Here are some tips to help you refine your essay:

• Check for Spelling and Grammar Errors: Proofread your essay carefully to catch any spelling or grammar mistakes. Use spell check tools and ask someone else to review your work for any overlooked errors.
• Ensure Clarity and Coherence: Make sure your essay has a clear structure and logical flow. Check for any inconsistencies or unclear passages and revise them for better coherence.
• Eliminate Redundancies and Wordiness: Trim down any unnecessary words, phrases, or repetition in your essay to make it more concise and impactful.
• Review the Formatting and Citations: Check that your essay follows the required formatting guidelines and includes accurate citations for any sources used. Make sure your references are properly formatted and cited throughout the text.
• Read Aloud and Seek Feedback: Read your essay aloud to yourself to identify any awkward phrasing or errors. Additionally, ask for feedback from peers, instructors, or writing centers to get valuable suggestions for improvement.

By taking the time to edit and proofread your essay thoroughly, you can enhance its overall quality and ensure that your ideas are effectively communicated to the reader. Don’t underestimate the power of polishing your writing – it can make a world of difference!

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My Beloved Italian City Has Turned Into Tourist Hell. Must We Really Travel Like This?

By Ilaria Maria Sala

Ms. Sala is an Italian journalist. She wrote from Bologna, Italy.

A little more than 10 years ago, Bologna, my Italian hometown, was not really considered a big tourist destination. Group tours would come, but the city was primarily known for being the place with one of the oldest universities in Europe. Its cuisine — dishes like tortellini and tagliatelle — was an attraction, too, but in a subdued way.

Budget airlines, short-term rentals and social media changed everything. These days Bologna is on its way to becoming a full-blown, must-avoid-the-main-roads kind of tourist city. Some of the effects of this have been typical, like the landlords who have converted apartments to short-term rentals, which has raised rents and sent students farther from the university and into the smaller towns on the periphery. But one result has been very particular to Bologna: the consumption of mind-numbing, heart-stopping amounts of mortadella.

If you are not already familiar with it, mortadella is a cold cut made of finely ground, light-pink pork dotted with white cubes of fat and, occasionally, pistachios. It and Bologna go way back . The slow eating of our city by mortadella shops started before Covid but accelerated when, as in many cities, lots of Bologna’s independent shops, cafes and restaurants went out of business during the pandemic. Many of those in the center of town were bought up by chains with deep pockets and a singular vision: to sell mortadella to foreigners.

Downtown has changed completely. In the streets around the historic main square there used to be many old stationery shops — a favorite sold fountain pens, inks in every color and all the hand-bound notebooks one could dream of. It had been there for as long as I can remember, but was recently turned into an “Ancient cold cuts butcher.” It’s part of a chain. Just across from it, in what I think used to be a jewelry store, is a second self-styled ancient butcher from the same chain. When I asked the shop assistant how ancient they were, she replied that they had been open for three months.

Also just off the main square is a little maze of streets where the ancient food market used to be. Many shops are still there, looking picture perfect and trying to sell their fruit and vegetables, though presumably not to the throngs of people marching behind leaders with microphones and little flags held aloft. Those groups usually stop in front of the old shops that have given in and now exhibit rounds upon rounds of mortadella in the windows.

There are also endless representations of pigs. In front of one shop I saw statues of happy pigs holding the knives with which they’ll presumably butcher themselves into mortadella. Pig snouts on the logo of another. Naturalistic, stylized and smiling pigs gaze benignly on the waiters below, who cart trays piled high with fluffy pork arranged like clouds and ribbons.

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Inna Solovyova studied both stagecraft and the Russian soul

The historian of the moscow art theatre died on may 29th, aged 96.

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I n her last months and weeks, with many of her students out of Russia because of its war against Ukraine, Inna Solovyova lay bed-bound in her Moscow flat, on the third floor of a grey Soviet block on a hill above the Setun river. Her body might be useless, especially her eyes, but her mind was clear as ever. In easier days she had guided companions round Moscow for hours, tirelessly pointing out churches from the age of Boris Godunov or buildings where Anton Chekhov’s Three Sisters might have lived. When she crossed the roads, with her stout, forceful figure and her purposeful step, cars slowed down; and when she went to a favourite restaurant, a cheap, honest eatery tucked away behind the Lenin library, the drivers waiting for their bosses would straighten up, as though to attention. Now her surroundings were reduced to shelves of old volumes and the tick of a Baroque clock.

Here and there though, discreetly placed, were signed portraits of famous directors, paintings by eminent set designers and books signed by artists. She had dedicated much of her life to the history of the Moscow Art Theatre, founded in 1898 by Konstantin Stanislavsky as “a theatre for the first and last time”: a theatre built on trust, a microcosm of the country and of Russian life in art. It was rooted in the ideas of Leo Tolstoy and devoted to psychological realism and the exercise of conscience. She too was inspired by these ideas; the founding essence and impulse of the theatre, to get to the heart of questions of life, death and morality, was hers, too. She was a living link to Tolstoy’s humanism and Chekhov’s almost tactile sense of the passing of time.

Like Stanislavsky, she rejected imitation or slavish reconstruction of the past. The past had to be brought to life with such conviction that no one could doubt its authenticity. Reality had to be seen, experienced and presented in fresh ways. As a theatre critic, advising directors and actors to the end, she was fascinated by the new life that emerged from some refraction of reality in an artist’s imagination. The job of art was not to hold a mirror up to life but to reflect its impact, as a shield reflected the blow of a sword.

The violence of that metaphor found echoes in her early life. Each person had a motherland, she liked to say, but she had a mother-time, the late 1930s, an era of grandiose ideas and vast tragedies. She was ten when, in 1937 at the height of Stalin’s terror, she saw a neighbour coughing up blood because soldiers of the NKVD (a forerunner of the KGB ) had stamped on her chest with their boots. She thought then, to hell with Stalin! And to hell with world revolution, too, if people’s lungs had to be crushed. From then on her hatred of both fascism and Stalinism was not abstract, but physical. She rejected the lies, because she had seen the truth, and would not betray her own eyes. It was pointless to fear arrest; that was outside her control, a matter of fate, as it was in the ancient Greek tragedies she knew so well. All she could do was to write a poem in hexameters, in the winter of 1953, calling for Stalin to die. The initial letters of each line spelled out his hateful name.

When he obliged her, not long after, she felt triumphant. He had died and she had survived. Immediately she went out to survey the city she loved. Moscow was empty at first, as if it had surrendered and was waiting for new occupiers to come. Then it filled up with crowds, and the crowds formed into columns. The system sustained by lies and fear had clearly survived Stalin’s death. But the noose had been loosened, the air had changed, and it was suddenly easier to breathe.

That change presaged the question that occupied her later. It was not why Russia so often succumbed to violence and darkness, but why sometimes, in this “dimly lit and harsh country”, things might suddenly and unexpectedly get better. This ability to self-correct was one of the central themes of Russia’s history and of the Moscow Art Theatre. Its first production was “Tsar Fedor Ioannovich”, a 19th-century play by Alexei Tolstoy about a humble and saintly tsar who succeeded Ivan the Terrible. It was imbued with a sense of life returning after the exhausting, deadly years of Ivan’s rule. The production took its cue from the author’s note: “Tsar Ivan has died…The sky has cleared, nature is awakening. Life, with its dark and light, is declaring its rights.”

The theatre held its actors to high moral standards, and she too worked that way. Idleness was not allowed. Dignity was her watchword. She would labour in the archives for ten or 12 hours a day, almost without breaks, until the task was done. Her curiosity was inexhaustible and thinking, to her, was as pleasant as swimming. But she was no otherworldly academic. She preferred a shot of vodka to a glass of champagne, could swear roundly if it was called for, and liked to hear the ideas of backstage staff as well as higher-ups. Everything she wrote was underpinned by documents and footnotes; but just as important were imagination and compassion, which allowed her to feel and represent the past as keenly as the present. In the archives she needed to handle the documents, as much as read them. To breathe them in.

One of her favourite literary passages came from “The Life of Archpriest Avvakum”, written in the 17th century by Avvakum Petrovich. Petrovich had criss-crossed the entire country, and his book movingly recorded not just Russia’s extreme violence, but also its people’s tenacity and acceptance of their lot. At one point, after yet another accident with the sleigh, Avvakum’s wife asked her husband: “Will these sufferings last for long, Archpriest?” “And I said, ‘Markovna, right to our very death.’ And so she sighed and answered, ‘Good enough, Petrovich, then let’s trudge on’.”

Inna Solovyova accepted life in that spirit, but also imagined more vivid life to come. On a shelf above her narrow bed, written out on an A4 sheet, were the words of a prayer for an easy death, along with Stanislavsky’s advice to his actors: “Simpler, lighter, higher, more joyously.” ■

This article appeared in the Obituary section of the print edition under the headline “Inna Solovyova”

From the August 10th 2024 edition

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