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Walter Benjamin explains his theory of "aura" as the unique presence in a work of art tied to its originality, authenticity, and the context in which it exists. He describes aura as what the artwork gives off when seen in its original form. This aura encompasses the artist's intention, history's cultural significance, and context. The artist's creative process creates context, revealing insight into the circumstances and meaning of the work. In 1956, Abstract expressionist painter Jackson Pollock and one of his passengers were killed when his car crashed into a tree. Pollock was drunk at the wheel and suffered from alcoholism for most of his life. He left behind his wife, abstract expressionist painter Lee Krasner, who remained in their East Hampton home and soon began painting in his beloved studio.  The Seasons, 1957. Lee Krasner "After his death, Krasner worked right through the first blast of grief, picking up her brush again just two weeks after his fune...

In his essay What is an Author? Foucault argues against the notion that authorship is a unified and intentional source of meaning in a text or work of art. He explores the greater significance and philosophy of authorship over the label or ownership of a name and how their contributions can transcend the intended or personal meaning. “Writing unfolds like a game that inevitably moves beyond its own rules and finally leaves them behind. Thus, the essential basis of this writing is not the exalted emotions related to the act of composition or the insertion of a subject into language. Rather, it is primarily concerned with creating an opening where the writing subject endlessly disappears." In this sense, the writer produces not only their own work but also creates the indefinite possibility of work by others and supports new rules of formation. Historical art movements are created similarly, directed by artists who depart from previously held constraints. Art philosophy develops wi...

In What Is Art , Tolstoy emphasizes art's ability to unite people and convey moral truths. It is commonly understood that art's value is drawn from its power to transcend emotions and foster human connection. Simple, raw expressions can evoke stronger connections and resonate more deeply with the audience rather than technically complex or realistic renderings. Tolstoy writes, "Art is a human activity, and consequently does not exist for its own sake, but is valuable or objectionable in proportion as it is serviceable or harmful to mankind. The object of this activity is to transmit to others the feelings the artist has experienced. Such feelings—intentionally re-evoked and successfully transmitted to others—are the subject matter of all art."(Tolstoy 1904) Tolstoy believes that art's primary purpose is to communicate feelings and reveal universal truths, enabling a shared emotional experience. As a social tool, art has always been a method of teaching. Art illus...

Cindy Sherman and Barbara Kruger are seminal contemporary artists whose works have profoundly challenged the conventions of the art world by subverting traditional notions of representation, gender, and power within the arts. Sherman and   Kruger's   entire portfolios have focused on the century-long struggle for   women's   rights to visibility, autonomy, and power in modern society. Through innovative photography and compelling visual statements, they have deconstructed societal norms and prompted critical discourse on identity and societal constructs. Sherman is known for her influential work in self-portraiture, inspired by the aesthetics of old Hollywood. In her 1970s film series Untitled Film Stills and her photography, she strives for thought-provoking and often unsettling images that are alluring, colorful, and daring upon closer look. By transforming her appearance and embodying female stereotypes,   Sherman's   work often quietly disarms the vie...

Feminist theory questions the canons in the hierarchy of art and reveals the bias in the chronology and objectivity of the art history narrative. Poised as “neutral,” the selectively biased narrative of the superior male artist and intellectual has shaped art history and the cultural understanding of art. Despite the consistent presence of radical female artists in practice, very little has changed in the power dynamic of art collectors. An underrepresentation of women in museums (outside of the female nude) and a lack of recognition and value in other art forms and art historically made by women still exist, calling for a reevaluation of what is considered “high art.” The medium's hierarchical canon often devalues complete genres such as ceramics, textiles, fiber art, and mixed media art because of their traditional association with women and women’s crafts. The traditional notion of art history as a linear and objective narrative is another canon disrupted by feminist theory. Th...

Photo Credit Lois Greenfield,  The Guerrilla Girls DW.com 2017 Since the 1980s, a female artist group known as the Guerrilla Girls began a lifelong pursuit of political art as activism. In May of 1984, the MoMA ran an exhibit titled An International Survey of Recent Painting and Sculpture,  heavily favoring male artists, and the show drew a group of protesters outside on opening night. To add insult to injury, the curator, Kynaston McShine, stated in interviews that“any artist who wasn’t in the show should rethink ‘his’ career.” (T ate) A year later, the Guerrilla Girls formed, intending to raise questions in the art world by stating the facts surrounding art theory and practice. The artistic approach of the Guerrilla Girls was to remain anonymous and work collaboratively using street art and demonstrations. Their medium of posters, signage, and prints relied on sharing statistics and asking bold questions, presenting the information to see what people did with it....