Learning to Look: Thinking & Feeling Art

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Learning to Look: Thinking & Feeling Art

Learning to Look: Thinking & Feeling ArtLearning to Look: Thinking & Feeling ArtLearning to Look: Thinking & Feeling Art

Tour No. 1: The Cleveland Museum of Art

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    About Learning to Look: Thinking & Feeling Art

    Our Guide

    Laura MacCaskey holds a Ph.D in the History & Philosophy of Art and Architecture from State University New York: Binghamton, NY; an MA in Art History from the University of California Riverside; a BA in Art History and a BA in Studio Art from the California State University, Riverside, CA

    Our Tours

    As part of the Learning to Look: Thinking & Feeling Art series, we offer private tours of the Cleveland Museum of Art, with principal focus on finding individual works that speak to the client. We will ignore names, dates, and titles, and will select works that speak to the individual from a moment in history. We will then visit each selection to discuss the piece, including its medium, function (i.e., sculpture vs. painting). Drawing upon our own thoughts, we will employ an approach to art that considers what the artist might have had in mind when creating the work. By asking ourselves such questions as, What was the artist going for in this work? Is it a study for a larger piece, or part of a series? What, if anything, does the use of color and/or choice of material play in the overall composition and why did the artist make those choices? Did the artist achieve his/her goal in the creation of this work? How so? If not, why not? The unique and thought-provoking exhibitions that Learning to Look: Thinking & Feeling Art hosts throughout the year will include works by internationally renowned artists and emerging talents from around the world.

    Learning to Look: Thinking & Feeling Art: A Museum Experience Like No Other

    Oil painting of a bar

    Part I. Representational .  Have you ever sat outside on your patio, perhaps in a lawn chair, soaking up the sunshine and realized it was getting rather hot? Did you move to the shade, open up an umbrella, install a canopy over the patio? How did any of those actions affect the quality of the light which was so bright before you could barely see anything? How was the color affected by it? Is this 

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    A very close picture of a oil painting

    Part II Non-Representational Expression.  What do you see? A mass of colored squares with no discernable or recognizable forms? Some people are better at reading shapes in the clouds than others. What do you think it might mean (or does it mean anything)? And why did Richard Diebenkorn choose to paint this particular series (actually Diebenkorn produced 135 of these in the Ocean Park Series beginn

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    Learning to Look: Thinking & Feeling Art

    3646 Rocky River Drive, Cleveland, OH

    1-440-294-8486

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