The Meaning of a Work of Art, Media or Design Is Not Fixed, Whatever the Intetions of the Maker Essay Example

The Meaning of a Work of Art, Media or Design Is Not Fixed, Whatever the Intetions of the Maker Essay Example The Meaning of a Work of Art, Media or Design Is Not Fixed, Whatever the Intetions of the Maker Essay The Meaning of a Work of Art, Media or Design Is Not Fixed, Whatever the Intetions of the Maker Essay The meaning of a work of art, media or design is not fixed, whatever the intetions of the maker. Choose a specific example and discuss: How it’s meaning might change depending on where it is seen and by whom. Introduction; The meaning of a work of art, media or design may or may not change depending on the audience viewing the object. The object will not change in appearance, but will the perception? Throughout this essay I will explore whether the meaning could actually change depending on who it is seen by and where it is seen. I will do this by discussing the intent of the directors, photographers and artists to gain full information of why the creator first intended to create and did it fulfill the reason. Also I will research some of the world’s most famous well known mediums and what makes them an important part of todays society and can we as the public really commit to liking them because they are our personal taste and opinion or do we enjoy them because of the background and intent of the creator, or maybe just because they are famous. a photograph should clearly show the intention of the photographer† -Martin Parr 1952 (bibliography) I found this quote by Martin Parr it particularly interested me because of the way it shows that not all photographers intent is the same. Parr has many quotes in his books and from articles I have read (bibliography- books) They explain his theories of what the context of pictures should be. And argues why they should be like that†¦Ã¢â‚¬ ¦(example of quote of argument bibliography) Martin Parr’s work presents the viewers and the audience with images that represent the place and the atmosphere with in them, the pictures maybe basic but beautifully captured, the intent of the pictures are not hidden nor do you have to look in depth for any meaning (bibliography of photo’s). This may be a good attribute about his work or a negative one, depending on the viewer. In one of Martin Parrs books alled ‘Our True Intent Is All For Your Delight: The John Hinde Butlins Photographs. ’ Parr’s opinions of other peoples work became clear when he was interviewed for the book about John Hinde in the 90’s. After parr who worked along John Hinde and then became a fan, collecting his work since 1971. â€Å"British postcard photographer John Hindes glowing color images of Butlins Holiday Camps in the 60s and 70s, presented and with an introduction by Martin Parr† (bibliography- suite101. om/content/our-true-intent-is-all-for-your-delight-a84653) The introduction said that â€Å"As with all Hinde imagery, they show an idealised view of the world and, after the passage of time, acquire the power of a lost dream. The most remarkable thing of all is that the cards were painstakingly produced not for any aspirational ideas or as great art, but as humble postcards to sell for a few pence to holidaymakers. † This particular introduction by Martin Parr really gave me an idea of what the British photographer liked as a person and what work he really admired to see and what influenced him. To me their work are rather similar and inspired Parr to publish one of his most recent books ‘Boring Postcards’ 1999 and 2000; the Boring postcards of the 1960’s-1970’s include a selection of Hides work. thingsmagazine. net/text/t15/postcards. htm This blog by jonathon bell- ‘what goes around, comes around’ gives the reader the idea of an unbiased and open opinion of the book and what he think’s the book it about. I found that reading the blog made me feel that is the intent of the photographers work really the main objective here? nd is it all just contradiction. For example Martin Parr deliberately puts forth in interviews and in his literature that the intent should be clear in the photograph and should be hidden (QUOTE by martin parr). Through reading the passage by Jonathon Bell going into depth about what the picture meant to him, and what the photograph portrait made me think did Martin Parr mean for this to happen â€Å"Are th ese visual portents of trouble ahead the key attraction? For those of us unfamiliar with the dark art of the stylist or the existence of light pimps and backstreet Seventies stereo specialists, Boring Postcards is streaked through with regret. Here is a world that might have been. It’s hard to tell when the scales fell from our eyes and modernism – in all its variants – began its long spell in the wilderness† Martin Parr’s ideological way of taking photographs can be compared with many contemporary