My art teachers HATE lady gaga

[Snow 1,582]

I can't believe some of the replies here, calling us "deluded" because we consider Gaga as an artist. So let me see if I get this straight, just because Gaga is a pop star and chooses to express herself through music and visuals instead of painting and such, she's not a "real" artist??? Because she's not ****ing Picasso, she's not a real artist? Bitch please.

 

An artist, by definition, is someone who practices any creative art, and guess what, that's what Gaga does. So don't give me that bull**** about her not being a "real" artist.

No you did not get the point. I did say earlier that yes, she is a pop artist. However pop artists are quite far away from "real artists" for the lack of better term. they are manufactured brands for the masses. There isn't much unique aspects to their "art".

And as for actually Gaga expressing her self trhough music and visuals, yeah, she is doing that. But In essence, she is creating music right? She is therefore a composer? Yet, she doesn't do it herself alone, but rather with others. Did Mozart do that? Chopin? the answer is no. Is Gaga's musical composition skills and talent on the same level than contemporary composers from art school, let alone Bach? No way in hell! Like I said, four chord pop tunes for top40 is not very artistic or creative... And the same goes for the lyrics....

And again, gaga does NOT create her visuals.

My point being, there  IS a quite vast difference between mere pop stars and actual artists. whether they are composers, painters whatever... They shouln'd be put the same level...

But I'm sorry, there was no need for me to call people fools, ignorant, deluted. So for that I'm sorry.

[TroubleClef 0]

Show them the essay she wrote about art in 2004 at NYU tbh

 

i never knew about the essay. Is this it? WOW DAMN GAGA IS SMART. Show this to the art teachers!

 

http://degrassi.wikia.com/wiki/User_blog:BrigidTenenbaum2112/Lady_Gaga_essay_from_2004.

 

 

Stefani Germanotta November 1, 2004 Assignment # 4: Reckoning of Evidence

The terms of the human body, some might say, are determined through a theoretical dissection of both the private environments and public atmospheres in which we live. By terms, the rules and evaluations of bodily condition, I mean to establish a division of perception…

The first divide is that of the social body, the perception of our bodies in relation to a larger intellectual and s-xual community, one that views each other in groups. The second divide is the condition of our nature, a perception of the body without relation or comparison, a singular entity that is independent, formless, and free. This segregation of seeing is general and yet universal because it capitalizes our differences. By examining these seeming generalizations, we break them down. It is through a demolition and reconstruction of these concepts that we can assign specificity and reason to these ways in which we look.

It is in the freeing of both natural and artificial bodies that art is created. For while some artist’s depend on the predisposition of their subjects to provide the work with it’s primary message and meaning, other artists rely on a temporal and physical freedom„an ability to use objects while also freeing them of their social significance and thus endowing them with endless possibilities of form. Spencer Tunick, an installations artist and photographer, struggled to achieve this freedom as a working artist in New York City. This artist is most famous for his installations, often characterized by masses of naked people arranged together in domestic locations, and in countries from every continent of the world. Removed of s-xual implication or intention, the nudes are used primarily and only as intended by the artist, as an exploration of the shape, contour, and texture of the naked body. Spencer is fascinated by the metamorphosis of the human body into a form, and the effect that his chosen locations have on this new shape (and vice versa) . In this way, the naked bodies are Spencer’s clay, and he uses them in the same manner that a painter uses oils or a sculptor uses marble.

This way that the artist looks at the body, is a radical contradiction to Western society’s view of the nakedness. In the eyes of some of his critics, Spencer’s work invades social privacy not only through the art, which to them degrades the sacredness of the body by exposing it in mass nudity, but also in the making of his art which requires an abnormal amount of public nudity, indecent exposure. Tunick challenges traditional ideas of intimacy, and asks us to free the body of s-xuality and view it aesthetically for the purpose of his art. The social body cannot exist, most specifically in the nude, as anything other then a s-xual thing. This is our naked condition.

The a--lysis of form, while an engaging arc to follow, can also reveal an inverse exploration of the body. An examination of the deformed. This word, Michel de Montaigne addresses in his essay Of A Monstrous Child, suggesting that the existence of a social body is formless, but far from free. He describes the figure of a boy, below the breast he was fastened and stuck to another child, without a head, and with his spinal ca--l stopped up, the rest of his body being entire (Lopate 57). Montaigne paints for us, a portrait of the boy’s physical form, or rather his de-form. With fastened, stuck, and stopped as his verbal interpretation of a Siamese twin, he illustrates how a human body, or form, can possess a lack of freedom in that it is harnessed to its disabilities in a physical way. For the deformed, there is an ownership of one’s difference, an ownership that is visible and undisputable. Through a scenic description of a deformed child, Montaigne uses the different shapes and contours of the child’s deformed body in order to create a visual contrast between what is ordinary and what is unordinary.

The perceptions of the nude and the deformed both manifest out of a concept of the social body, and the ideological contrast and visible conflict that is created in their presence. In Of A Monstrous Child, Montaigne asks us to consider the way we look at the body, and at each other. Montaigne suggests:

What we call monsters are not so to God, who sees in the immensity of his work the infinity of forms that he has comprised in it; and it is for us to believe that this figure that astonishes us is related and linked to some other figure of the same kind unknown to man. (58)

When we view something contrary to custom we assign them a monstrous quality. We infer based on something’s lack of ordinariness that it is disgusting or somehow linked to something inhumane, in some cases one might say uncivilized. In light of Montaigne’s theory, that we assign the unordinary with a monstrous condition, we can see the viewpoint from which art critics, the government, and the public, condemn Spencer Tunick’s work with naked bodies. Because it is not socially ordinary; it is irregular to see that many nudes amassed at one time, the art possesses a grotesque quality for the viewer.

This assigned foreignness can be designated as a kind of artistic racism, a public perception that handicaps from seeing and experiencing different forms, whether artistic or natural.There is an error in our perception„that our perception of the human body is somehow flawed. We call contrary to nature what we call contrary to custom (Lopate 58) We are trained only to be accepting of the regular, and it is this blindness that prevents us from seeing the prodigy in that which we have never seen before.

It is possible that in our naked form, in our deformed, that we are not only exposing our vulnerability, our skin, our scars, our flaws, and our genitals. But we also are exposing our secrets.

In spite of Montaigne’s great idealism, this perspective that allows us to choose the way in which we view the body, there is still an unavoidable clause that needs a--lyses. Sexuality manifests most physically… [the copy I have cuts off here]

 

[Mariann 301]

We all love and admire Gaga but in certain situations we are expected to give some more conventional answers. They probably wanted to know how much you know about the artists you are going to study in this school to see how well you would fit in. I still hope everything goes well for you. 

[ithinkweed 142]

So how did it go?

[Sam Dey 1,847]

So how did it go?

 

i didn't get in but somehow i discovered a better school which doesn't require intake exams :D i'm going to register myself tomorrow :D

[JaggedMonster 2]

i didn't get in but somehow i discovered a better school which doesn't require intake exams :D i'm going to register myself tomorrow :D

Did they tell you why?

[Mariann 301]

i didn't get in but somehow i discovered a better school which doesn't require intake exams :D i'm going to register myself tomorrow :D

I hope you are not too disappointed. Good luck for tomorrow. 

[Ronk 14,762]

Many of Gaga's own fans are unaware of how much of an artist Gaga is beyond her songwriting, singing, and musicianship.  She does not brag about what she does, and gives so much of the credit to others even when she has a major part to play in the art.  It's just in her nature to be a kind and giving person.  She designs stage sets, costumes, and the cohesive artistic concept of every part of an era.  It's really Gaga's art and vision, with the help of others.  Two of the best interviews have been removed from the internet due to copyright (Ellen Shows of 7/23/2010 and 9/13/2010) but mention of her involvement in costume design, stage design, and artistic concept are also in these interviews, and others:

 

1:07 into this:  http://www.youtube.com/watch?v=34OIVjqpTkI&list=RDGMFvT4TjLJk&index=6

3:07 into this:  https://www.facebook.com/video/video.php?v=396729574164

3:00 into this:  https://www.youtube.com/watch?v=KeMVNYCs9-U

 

I posted a video earlier in this thread showing the art of artRAVE.  Know that the artistic stage set, costumes, and the entire atmosphere of the concert was at Gaga's direction with the help of others, and it's been that way in each era.  We should be careful not to minimize Gaga's artistic involvement in her concerts, performances, and appearances, even though she rarely talks about it, and very briefly when she does.

 

I suppose we can't expect the OP's teachers to know that Gaga is so much more than a pop star, when her own fans don't know either.

[hoeslay 4,173]

I'm in an arts Magnet and all my teachers admire her artistry.....

[MANiDONTCURE 30]

I wrote about gaga in my AP World History exam and got a 3 :D.

[Noah Fatale 72]

Ask your art teachers what kind of impact they have had on the art community? Were they featured in the Lourve? Were they working with Jeff Koons? Also, kindly remind them they are mere teachers probably earning less than 75k a year talking **** about an ARTIST who is worth more than 220million.

Tell me that is not the ultimate drag of the year.

this^

 

but seriously they arent real art teachers if they cant recognize somebody for theyre artistic expression (gaga)

[Wet Fire 7,412]

Tell them legends like Jeff Koons, Marina Abravomic and Robert Wilson support Gaga.

[Miker 5,683]

Those are art teachers with no class (pun fully intended).   :)