Resource Organizing

Jacky Chen

Professor Navarro

English 1A

16 October, 2021

Impacts Of Art to The World and Why It Had Been Disregarded in Many Places

Art is the expression, application, or depiction of creative ability and creativity via

visual media such as painting and sculpture. The artists have made significant contributions

to society via their work, which has resulted in a sea shift in how people see real-world

events. Nonetheless, art brings silent ideas to life and allows them to be interpreted by the rest

of the world present artists art with a purpose in mind. Various individuals perceive their

intentions and meanings differently based on their prior exposure to art, their known history,

and the historical period in which the art is exhibited. In this context, I will use chapter two of

our textbook to discuss the influence of arts on society while critically analyzing the author's

use of rhetorical devices and comparing them with " Dr. Larry Brewster and California

Arts-in-Corrections: A Case Study in Correctional Arts Research." This chapter of the book

is written by Checker and Fishman and focuses on many issues, but I will point out her

arguments on the impact of art in New York and why art had been disregarded in many

places.

The author uses rhetorical devices to appeal to us on the causes of art underestimation

in New York. Using pathos, the author appeals to our emotions by stating the ways art has

been underscoring in modern America. The author appeals to our feelings when passing

through her arguments on the importance of art in people's lives, specifically in politics. She

wants us to feel how she thinks about how art has lost its value in a modernized society. Here,

the author paints a vivid picture of how she dwelled into teaching, she needed people to "be

impacted by the theatre" (Checker and Fishman, 57). She constantly reminds us of why art

should still be embraced even after the evolution of museums and the gallery system. "This

work has underscored the many contradictions between our artistic ideas and how they have

been institutionalized since the modern era, brilliantly accounting for the art world I

experienced, with all its dissatisfactions" (Checker and Fishman, 53). Artists raised concerns

about funding organizations' propensity to quantify economic outcomes rather than recognize

aesthetic and social worth when evaluating creative initiatives piqued the author's attention.

The author uses pathos and introduces a fair share of life examples and writings to

appeal to us on how art is influential and impacts our daily lives. Also, through pathos,

Fishman points out that "consequently, the arts no longer serve as a source of inspiration or a

means of expressing concern for most people (Checker and Fishman, 53). It's not uncommon

for the author to talk about art's significance and its favorable reactions. Throughout the

chapter, she successfully uses pathos to build a sympathetic picture via emotionally charged

words and phrases. She notes that 'she sang her final song" (Checker and Fishman, 54) on the

budget and that "she left the art world" because it dismayed her. The author selected this

story as symptomatic of the Pathos device since we can all identify with these problems.

Pathos seems to be more successful than Ethos or Logos as a rhetorical technique the author

uses in certain situations. These words help establish the impacts of art in the New York

modernized society, and they are an appeal to pathos or the readers' feelings of anger and

frustration.

There are many times in the book when the author discusses the value of art and its

advantages. The author says that artists educate their pupils "that witnessing an artwork may

be an opportunity to express a point of view, to think about different concepts, and to think

critically about their surroundings" (Checker and Fishman, 66). Using this example, we can

understand how important art is while simultaneously emphasizing its seriousness. As a

result, the author imbues the work with meaning. They reassert the thesis by utilizing these

instances, making it more straightforward for the listener to relate to.

Throughout this chapter, there is a particular anchoring bias towards art's power on

teachers' lives and not a societal impact. This leads us to the second sense in which this work

is cultural activism. The author noted that several artists and directors told her that teaching

was something broader than art. Arts educators want to foster independence, self-confidence,

observation, and critical thinking in their students by teaching "creative thinking," a rigorous

cognitive process. They believe that a democratic education aims to prepare students to be

engaged citizens, which many people believe the present educational system does not

adequately prepare them to achieve. Their teaching methods thus directly challenge the

dominant educational ethos and agenda in America, which focuses on producing an

educational product, judged through relentless testing. In these hierarchical and positivist

educational approaches, some things must be known, and children are measured by whether

they can prove they know them on a test. This demonstrates that the mental dispositions and

work processes that program directors and artists teach are critical to productive and creative

thinking in any industry. Because of this, it's challenging to be impartial when discussing the

effect of the arts outside the classroom. Because of their ties, the author has a soft spot for

teaching artists and wants to learn more about it. These problems of art's impotence and

influence are also felt when people have this prejudice while discussing or writing about

other professions. The author chooses a career they are passionate about narrows the

audience's understanding of the problem.

Art's effects on people's lives and the helplessness of art and artists due to modernity

are explored in this chapter through various cause-and-effect scenarios. As an example,

consider the passage where the author discusses the relationship between art's importance in

the New York City community and its causes and effects. Cultural groups, institutions, and

artists in New York City started to fill the void (Checker and Fishman, 55). In this

cause-and-effect example, the reader will see how widespread these problems are in New

York City and how they influence art programs in the city's standard curriculum in the future.

In addition, the reader will be able to adapt the circumstances to their states or regions by

looking at them through the lens of New York City. It provides students with the opportunity

to develop and examine their own opinions on the reasons and consequences of art

curriculum inclusion — or exclusion — in their school systems.

According to the author's opinion, art education is no longer necessary, as shown by

certain schools no longer provide art classes. "Instead, they operate with the belief that

instructors and students must first gain confidence in their views and separate themselves

from authoritative interpretations to build critical perspective" (Checker and Fishman, 61).

However, throughout the chapter, the author's tone is assertive, making it appealing to

readers.

The second article is a fascinating case study that tells how an arts-correctional body

of research came to exist, and I will be brief while analyzing it rhetorically. Native American

art is one of the practices that belong to Americans' aboriginal inhabitants. Consequently, it

was mainly produced after the European contact. The native Americans knew nothing about

art and artists, but few American Indians allowed art to become part of their daily lives.

During recent times art was only recognized as an imperative significance when wealth was

the essential factor in the culture. This article uses logos to appeal to its readers by reason.

Logos are prevalent throughout this case study, as the author notes in the article's first

paragraph that this correctional arts program is among the longest-running in the country and

also has the most research behind it" (Gardner, 195). An impressive success story in

correctional arts has been the quantity and quality of AIC program assessments.

The article is a peer-reviewed article that has provided a vital contribution to the study

of the correctional art research and therefore has no biases. With a strong use of analytical

methodologies and the author having no conflict of interest with the investigation, this article

is solid. When the author says that "any study on correctional arts programs is good"

(Gardner, 199), he's using logos throughout the piece. Because of this, it is not easy to

conduct double-blind, controlled, randomized research on people who have been incarcerated

or who are on probation or parole.

Throughout the article, the author uses evidence which is a building block for solid

arguments. She uses more than ten peer-reviewed articles to conclude and analyze the data

she has at hand. In the United States and abroad, many arts-in-corrections initiatives have

been successful. For the most part, these initiatives have never been reviewed, their results

have never been quantified, and their history has never been recorded (Gardner, 194). The

discipline of correctional arts relies heavily on stories to bolster its arguments, but it lacks

reliable data to back up those arguments. Art activities are offered extensively and sporadic in

correctional facilities throughout the United States, if not regularly.

The author's tone is very inspirational. The entire article was insightful and was

explained very calmly without any biases. The author used little to no personal opinions

about the controversy as described in this article. Even though additional research has come

out after those two points were made, the general tendency remains the same. Fear of bad

outcomes, a lack of resources, or a perception of a lack of resources, and "methodological

paralysis" have all been proposed as possible reasons (Gardner, 194).

Throughout the second chapter of our textbook, Checker and Fishman, our author

appeals to our emotions on matters concerning art and society, New York, to be specific. She

uses pathos in many instances to offer a way readers can relate to the impact of art and its

powerlessness in many places through commonly held emotions. On the other hand, Gardner

uses logic throughout her case study. The art of using logos makes her readers feel smart by

using only facts to pass her arguments. The two articles appeal to their readers with the same

purpose and ideas of arts and society; however, they use a different pattern of the

organization throughout their course.

Conclusively, using logos and pathos, these articles have appealed to our emotions,

logic, and rationality on the topic of art and correctional art in California and New York. In

my opinion, these articles give readers an overview of the importance of art to the world, the

reasons why skill is underestimated, and the perspectives with which people view art. I

believe these articles were conclusive and fulfilled their hypothesis. We need individuals like

Checker and Fishman to guarantee that art continues to be taught in schools by the proper

artists since the art program was so effective that it was one of the best models of prison arts

programming in California.

References

Checker, Melissa, and Maggie Fishman. Local Actions: Cultural Activism, Power, and

Public Life in America, Columbia University Press, 2004. ProQuest Ebook

Central, https://ebookcentral.proquest.com/lib/sjsu/detail.action?docID=909222.

Gardner Ph.D., Amanda. "Dr. Larry Brewster and California Arts-in-Corrections: A

case study in correctional arts research." Journal of Prison Education and Reentry

6.2 (2020): 194-200.