Louise Berliawsky, (no Title), C. 1905. Courtesy Of The American Art Collaborative.

Harold Cohen coloring the forms produced AARON’s drawing Turtle at the Computer Museum, Boston, MA, ca. 1982. Collection of the Computer History Museum, 102627459. Is it possible to stop worrying and learn to coexist with AI? That's the question I begin to explore in the Artfully Learning post "Living and Learning with AI?" Read here: https://theartsandeducation.wordpress.com/2023/01/17/living-and-learning-with-ai/

First image: Irving Kriesberg, (no title) drawing from the Chicago Field Museum of Natural History, c. 1929, graphite on paper. Collection of the Irving Kriesberg Estate Foundation. Second image: Irving Kriesberg, The Victim, 1994, oil on canvas. Collection of the Irving Kriesberg Estate Foundation.

Irving Kriesberg developed an aptitude for art at an early age by filling notebooks with drawings of museum taxidermy he encountered at Chicago’s Field Museum of Natural History. This early experience of biological rendering made a lasting impression on Kriesberg, who manifested his own animal imagery and phenomenal aesthetic environments throughout his career.

The untitled graphite drawing of a leopard seizing a bird in its claws is from around 1929, which would mean that Irving was about 10 years old when he drew it; the painting, titled The Victim, is from 1994, when Irving was 75. Both compositions feature a large cat pouncing on a bird.

It is amazing to see how interests, explorations and influences from childhood manifest creatively throughout the course of one's life. This is an apt insight into artistic development of a professional artist. Read more about this phenomenon in my latest blog post "The Childhood Origins of Working Artists."

Zoë Buckman, "Help I Work at the Ministry," c.1995, fabric and mixed media. Arts writer Priscilla Frank (2017) explains that, “when she was 10 years old, Buckman’s father got a job as a statistician at the Ministry of Defense in London. Imagining her father going to work at such an official building was humorous for her. Having overheard her parents speak of the long process of him receiving security clearance, she wanted to sew him a tie and entrap it in a glass frame.” . Read more about this artwork and others in my blog post "The Childhood Origins of Working Artists" Here's the link to my piece: https://theartsandeducation.wordpress.com/2023/01/13/the-childhood-origins-of-working-artists/

Top: 2- Stage Transfer Drawing. ( Advancing to a Future State),  Boise, Idaho. Erik to Dennis Oppenheim, 1971. Bottom: 2- Stage Transfer Drawing. ( Returning to a Past State), Boise, Idaho Dennis to Erik Oppenheim, 1971. Source: The Estate of Dennis Oppenheim

How does drawing extend beyond actual marks made on a surface? Find out in my post "Lineage Drawing," where I describe the impact of a 1970s collaboration between conceptual artist Dennis Oppenheim and his children. Read it via the URL here: https://theartsandeducation.wordpress.com/2023/01/02/lineage-drawing/

Art + Math

Geometry of the body by Lin Yung Cheng

Birch bark letter no. 202: spelling lessons and drawings by Onfim (aged 6 or 7), c.1240–1260. Source: Wikimedia commons

Find out more about this drawing in my Artfully Learning post: "Ancient Art Education"

Read my latest blog post on Helen Levitt called "Photographing Children’s Play and Art" on Artfully Learning: https://theartsandeducation.wordpress.com/2023/01/05/photographing-childrens-play-and-art/

Helen Levitt New York, c. 1942 Signed, titled N.Y. and dated CIRCA 1942 on verso

As an artist, educator and art historian my concerns are about symbolically visualizing and accurately documenting experiences that prompt us to consider taking steps towards bettering ourselves and our surroundings. Although art is often symbolic and abstract in its function, it can certainly (and already has) led to transformative changes that benefit humanity and ecology alike. The laborious, creative process itself is an act of perpetuation, which is a main tenet of maintenance. Prior to a work of art entering society, the artist develops an idea behind their work and must nurture that concept by fashioning it into a tangible object or experience. Once the artwork leaves their studio it takes on a new purpose. Whether it is intended for public reflection or the white walls of a gallery, the artwork also requires significant care.

Inspired by renowned social reformer Jane Addams' 1907 essay, “Utilization of Women in City Government,” I wrote a piece about the role that art can have in societal and environmental upkeep. You can read it on Artfully Learning: https://theartsandeducation.wordpress.com/2022/11/06/utilization-of-artists-in-societal-and-environmental-maintenance/

I recently wrote about Khor Ean Ghee and other modern and contemporary artists and designers who have created whimsical designs for playgrounds. You can read my piece here: "Form, Function and Fun: Playgrounds as Art Education."

The Dragon Playground was designed in 1979 by Khor Ean Ghee, an in-house designer from HDB (Housing and Development Board’s) inspired by Chinese dragons, very popular among Chinese in Singapore.

The Ang Mo Kio Dragon Playground is one of two remaining playgrounds in Singapore with this design. The other one is located in Toa Payoh.

https://www.kopitravel.com/Asia/Singapore/Kids-Details?kidsId=1010

#singapore #singapur #kopitravel #travel #asia #visitsingapore #exploresingapore #splendid_urban #cityphotography #cityscape #dragon #playground #dragonplayground #historic #historico #angmokio #hdb #hdbsingapore (at Ang Mo Kio, Singapore)

Isamu Noguchi's rendering for a playground. I wrote about the educational philosophy behind these artful playgrounds in a post called "Fröbel’s Gifts, Noguchi’s Playgrounds" on Artfully Learning. Read it here: https://theartsandeducation.wordpress.com/2020/12/01/frobels-gifts-noguchis-playgrounds/