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Essays About Art: Top 5 Examples and 9 Prompts

Essays about art inspire beauty and creativity; see our top essay picks and prompts to aid you.

Art is an umbrella term for various activities that use human imagination and talents. 

The products from these activities incite powerful feelings as artists convey their ideas, expertise, and experience through art. Examples of art include painting, sculpture, photography, literature, installations, dance, and music.

Art is also a significant part of human history. We learn a lot from the arts regarding what living in a period is like, what events influenced the elements in the artwork, and what led to art’s progress to today.

To help you create an excellent essay about art, we prepared five examples that you can look at:

1. Why Have There Been No Great Women Artists? by Linda Nochlin

2. what is art by writer faith, 3. my art taught me… by christine nishiyama, 4. animals and art by ron padgett, 5. the value of art by anonymous on arthistoryproject.com, 1. art that i won’t forget, 2. unconventional arts, 3. art: past and present, 4. my life as an artist, 5. art histories of different cultures, 6. comparing two art pieces, 7. create a reflection essay on a work of art, 8. conduct a visual analysis of an artwork, 9. art period or artist history.

“But in actuality, as we all know, things as they are and as they have been, in the arts as in a hundred other areas, are stultifying, oppressive, and discouraging to all those, women among them, who did not have the good fortune to be born white, preferably middle class, and above all, male. The fault lies not in our stars, our hormones, our menstrual cycles, or our empty internal spaces, but in our institutions and our education–education understood to include everything that happens to us from the moment we enter this world…”

Nochlin goes in-depth to point out women’s part in art history. She focuses on unjust opportunities presented to women compared to their male peers, labeling it the “Woman Problem.” This problem demands a reinterpretation of the situation’s nature and the need for radical change. She persuades women to see themselves as equal subjects deserving of comparable achievements men receive.

Throughout her essay, she delves into the institutional barriers that prevented women from reaching the heights of famous male art icons.

“Art is the use of skill and imagination in the creation of aesthetic objects that can be shared with others. It involves the arranging of elements in a way that appeals to the senses or emotions and acts as a means of communication with the viewer as it represents the thoughts of the artist.”

The author defines art as a medium to connect with others and an action. She focuses on Jamaican art and the feelings it invokes. She introduces Osmond Watson, whose philosophy includes uplifting the masses and making people aware of their beauty – he explains one of his works, “Peace and Love.” 

“But I’ve felt this way before, especially with my art. And my experience with artmaking has taught me how to get through periods of struggle. My art has taught me to accept where I am today… My art has taught me that whatever marks I make on the page are good enough… My art has taught me that the way through struggle is to acknowledge, accept and share my struggle.”

Nishiyama starts her essay by describing how writing makes her feel. She feels pressured to create something “great” after her maternity leave, causing her to struggle. She says she pens essays to process her experiences as an artist and human, learning alongside the reader. She ends her piece by acknowledging her feelings and using her art to accept them.

“I was saying that sometimes I feel sorry for wild animals, out there in the dark, looking for something to eat while in fear of being eaten. And they have no ballet companies or art museums. Animals of course are not aware of their lack of cultural activities, and therefore do not regret their absence.”

Padgett recounts telling his wife how he thinks it’s unfortunate for animals not to have cultural activities, therefore, can’t appreciate art. He shares the genetic mapping of humans being 99% chimpanzees and is curious about the 1% that makes him human and lets him treasure art. His essay piques readers’ minds, making them interested in how art elevates human life through summoning admiration from lines and colors.

“One of the first questions raised when talking about art is simple — why should we care? Art, especially in the contemporary era, is easy to dismiss as a selfish pastime for people who have too much time on their hands. Creating art doesn’t cure disease, build roads, or feed the poor.”

Because art can easily be dismissed as a pastime, the author lists why it’s precious. It includes exercising creativity, materials used, historical connection, and religious value. 

Check out our best essay checkers to ensure you have a top-notch essay.

9 Prompts on Essays About Art

After knowing more about art, below are easy prompts you can use for your art essay:

Is there an art piece that caught your attention because of its origin? First, talk about it and briefly summarize its backstory in your essay. Then, explain why it’s something that made an impact on you. For example, you can write about the Mona Lisa and her mysterious smile – or is she smiling? You can also put theories on what could have happened while Leonardo da Vinci painted the Mona Lisa.

Rather than focusing on mainstream arts like ballet and painting, focus your essay on unconventional art or something that defies usual pieces, such as avant-garde art. Then, share what you think of this type of art and measure it against other mediums.

How did art change over the centuries? Explain the differences between ancient and modern art and include the factors that resulted in these changes.

Are you an artist? Share your creative process and objectives if you draw, sing, dance, etc. How do you plan to be better at your craft? What is your ultimate goal?

To do this prompt, pick two countries or cultures with contrasting art styles. A great example is Chinese versus European arts. Center your essay on a category, such as landscape paintings. Tell your readers the different elements these cultures consider. What is the basis of their art? What influences their art during that specific period?

Like the previous prompt, write an essay about similar pieces, such as books, folktales, or paintings. You can also compare original and remake versions of movies, broadway musicals, etc.

Pick a piece you want to know more about, then share what you learned through your essay. What did the art make you feel? If you followed creating art, like pottery, write about the step-by-step process, from clay to glazing.

Visual analysis is a way to understand art centered around what the eyes can process. It includes elements like texture, color, line, and scale. For this prompt, find a painting or statue and describe what you see in your essay.

Since art is a broad topic, you can narrow your research by choosing only the most significant moments in art history. For instance, if you pick English art, you can divide each art period by century or by a king’s ruling time. You can also select an artist and discuss their pieces, their art’s backstory, and how it relates to their life at the time.

If you are interested in learning more, check out our essay writing tips !

Maria Caballero is a freelance writer who has been writing since high school. She believes that to be a writer doesn't only refer to excellent syntax and semantics but also knowing how to weave words together to communicate to any reader effectively.

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My Art Taught Me…

Right now I’m sitting in my favorite coffee shop on my first solo trip out of the house since giving birth, writing my first post-baby weekly essay—or rather, I’m thinking about writing the essay.

I’ve already started and stopped and restarted this essay 3 times. I feel the anxiety rising, the need to create something “great” , the pressure of writing my first essay back from maternity leave, the worry that if I write too much about my current experience (struggling to settle into life as a new mom with a newborn baby) and don’t write enough about art and creativity that all of you will unsubscribe and I’ll be talking to an empty void.

But then I realized, these problems are exactly the same as what I typically write about— how mindset affects the creative process: our tendency towards unrealistic expectations, perfectionism, comparison, and self-judgment.

So now I’m taking a step back and pausing to try to be more aware of what mindset I’m currently in. As you know , I write these essays primarily for myself. They are a means for me to think through and process my own experiences as an artist (and a human) , sharing what I learn along the way with you. And right now, my experience is being dominated by this new tiny creature who is totally dependent on me for her survival.

Perhaps you’d be interested to read an essay titled, “How This New Mom Overcame Exhaustion to Prioritize Creativity”. Or maybe, “How my Child Inspires my Art Every Day” . But that hasn’t been my experience, y’all.

Instead, this essay could be titled “How This New Mom Manages to Drag Herself Out of Bed to Eat, Nurse, and Sometimes Kind of Sleep” or “How New Mom Cries Often and Wonders What is Normal and Not Normal.”

In periods of struggle, these weekly essays become a way to tap into my self-awareness and speak directly to myself, telling myself what I need to hear, like a personal pep talk. It’s a way to organize and crystallize my thoughts and really absorb advice from others by applying it to my own experience and writing it in my own words. I tried writing an essay like that today, inspired by the Jon Kabat-Zinn quote:

“You can’t stop the waves, but you can learn to surf.” –Jon Kabat-Zinn

But no matter how I wrote and rewrote that essay, it just felt disingenuous and insincere. Perhaps because that quote doesn’t actually resonate with me right now. I believe it intellectually, but currently, I’m just not there right now. I don’t feel like I’m learning to surf, I just feel like I’m drowning.

For quite a few reasons, I’m at high-risk for Postpartum Depression. I went into this period armed with research, books, a therapist, early doctor appointments, a network of support, and a plan. And yet, I’m still struggling.

I knew feeding and caring for a newborn baby round the clock would be difficult. I knew sleep deprivation would make everything harder. I knew it would be hard to find time to make art and that I would need a period of time off. I knew the mantra: “If the baby is fed and you are fed, you’re winning”.

And yet, I feel like nothing I’m doing is good enough. I’m not connected enough to my baby. I’m not changing enough diapers. I’m not working enough. I’m not drawing enough. I’m not doing enough. I’m not enough.

But I’ve felt this way before, especially with my art. And my experience with artmaking has taught me how to get through periods of struggle.

My art has taught me to accept where I am today.

My art has taught me how to draw and write about what I feel, not what I think I should feel.

My art has taught me that whatever marks I make on the page are good enough.

My art has taught me that making those authentic marks, rather than the marks I think I should be making, is how you move forward.

My art has taught me that the way through struggle is to acknowledge, accept and share my struggle.

My art has taught me that I have to see and share my vulnerabilities with others to connect, instead of hiding my weaknesses and shutting down.

My art has taught me that struggle is a normal and natural part of the creative process (and life in general).

My art has taught me that the waves will never really stop, and it’s ok if you can’t go straight from drowning to surfing.

My art has taught me that sometimes you just need to float for a while, and that’s good enough.

So here I am now, trying to take these lessons I’ve learned from my art to heart, and sharing these vulnerabilities with you. I’ve only drawn 3 times in 3 weeks, and I feel frustrated about that. I feel more like a milk-producing cow rather than a warm, nurturing mother, and I feel ashamed about that. I am often so tired and mentally drained that all I can do is lay down and read, and I feel embarrassed about that. I have a loving husband, mother, therapist, and midwife who are all amazingly supportive of me and still I struggle, and I feel guilty about that.

But today, right now, I’m trying to acknowledge and accept where I am. And I’m turning to my art to help me get there, starting with this essay, right now. This essay is not perfect. Maybe it’s not even good, I don’t know. But it is the first essay I’ve written since becoming a mother. This is my first solo outing since becoming a mother. I left the house, and I wrote an essay.

That may not be the stuff of an inspiring how-she-did-it-new-mom-essay, but it’s definitely a step in the right direction. I may not be learning to surf yet, but perhaps I’m learning to float.

And for now, maybe that’s good enough.

<3, Christine

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Reflection on my art practice

• 26th February 2020 12th March 2022
• Degree project

Reflecting on your own art practice is an incredibly useful exercise. It forces you to stop and consider how you have crafted your past creative pathway and gives you renewed confidence to keep going – with or without minor tweaks to your forward direction. The essay below is my own exploration of my creative approach, my obsession with simplicity and the mark of the maker and the associated artists who continue to inspire me.

Personal art practice – consideration of my work in relation to other artists & wider critical thinking

A creative strategy.

Moving from a career delivering digital learning to the looseness of fine art demanded a rethink of my creative process. I had a passion for promoting creativity in business and it is an increasingly valued skill (Gompertz, 2015) but it was so often frustratingly quashed by corporate brands and became a shadow of its full potential.

A study of the creative habits of artists proved an invaluable starting point in my search for a looser creative spark. Appendix 1 shows a summary from ‘Daily Rituals: How Artists Work’ (Currey, 2013) and we see that famous artists have four common characteristics. The most resonant has been a focus on isolation and reducing the necessities of life to mindless activity so they don’t hog the creative flow, as novelist William Styron states:

“Be regular and orderly in your life like a bourgeois so that you may be violent and original in your work.” — William Styron

The challenge we have is that creativity cannot be turned on and off at will and as artists, we must learn to adapt to the realities of 21st-century living. I have learnt to embrace the mundane activities in life as they are a source of inspiration, however, freeing the mind of domestic routine is an absolute necessity for focused periods of creative work.

Seeking the avant-garde

To measure my artistic practice against that of the contemporary art world, the formula of art historian Griselda Pollock proved inspirational. Pollock suggested that to be avant-garde art must show reference, deference and difference (Pollock, 2015) so can we assume that to change the course of art history art must exhibit these characteristics, as explained in Figure 1.

Figure 1: Summarised from Vision and Difference: Feminism, Femininity and Histories of Art by Griselda Pollock (2015)

The ‘difference’ in Pollock’s formula is often cited as the most important. However, in contemporary art it is often stated that there is “…no such thing as a wholly original idea” (Gompertz, 2015) — a head-scratching situation that many artists have fought with:

“There is nothing new in art except talent.” — Anton Chekhov

I believe that we still have countless unique combinations to explore, which start with several unconnected mental images that are exciting when aligned and take us down endless corridors of creativity. The search is not for the single idea but for a unique tension that springs out when unrelated concepts come together. This is the ‘difference’ that I search for in my art — that novel juxtaposition that reveals something new about our place in the world.

Simplicity as an endpoint

I have become passionate about the power of simplicity. Many artists echo simplicity as a strategy in their work, for example, the painter Nicholas Wilton talks of “…enhancing communication by eliminating redundancy without removing important information” (Wilton, 2019) and technologist John Maeda states that: “Simplicity is about subtracting the obvious, and adding the meaningful” (Maeda, 2006).

Picasso was a prominent ‘simplifier’ and he reduced his famous bull (Figure 2) to a few simple lines in a search for a deeper symbolism (Stanska, 2017). In creating a more abstract form, Picasso created his ‘real’ idea of a bull – the pure essence of a creature that stood for the Spanish people, virility or maybe his own image.

Figure 2: The Bull (Le Taureau) by Pablo Picasso, MoMA, 1945

My epiphany has been to reverse a hard wired model of moving from simplicity to complexity. Author Todd Henry reminds us: “Don’t confuse complexity with value” (Floyd, 2017) and I believe that my art will have more value as a simple expression of complex thought. My new mantra is “What can I take away to say something new about the world?”.

My work ‘The Present Intense’ in Figure 3 took a mundane commute and reduced it to line, colour and light and this typifies my search for pure outcomes. In a paradoxical way the constraints I now set expose unlimited freedom of expression and have greatly improved my creative confidence.

Figure 3: The Present Intense by Richard Hyde, 2019

The mark of the maker

I persistently seek out the mark of the maker. Such work makes me gasp and my heart churns as I glimpse the soul of the artist and their search for truth. The impact is most powerful with drawing and painting as the purity of these human scratchings feel like the most naked form of artistic expression.

An exhibition of Käthe Kollwitz etchings (“Portrait of the Artist: Käthe Kollwitz,” 2018) in Hull was one of my most powerful gallery experiences (Figures 3-5) and had an incredible sense of death and mourning (“Käthe Kollwitz,” 2014).

Figure 3: Death and Woman by Käthe Kollwitz, New Walk Art Gallery Leicester, 1910

Kollwitz simplified her visual language (“Käthe Kollwitz | MoMA,” 2016) to expose a deeper meaning about politics and relationships (“Ikon Portrait of the Artist: Käthe Kollwitz,” 2017) and she certainly recognised her power:

“I am in the world to change the world.” — Käthe Kollwitz

Kollwitz’s work epitomises my passion for visible mark-making. Her work screams about social injustice and maternal love with simple lines and tones. Pared-back marks are an artist’s signature — we imagine her hands moving and we hear the scratchings on paper. There is also a void for interpretation as the marks are intentionally loose. Upon every repeat viewing, we see a new image and we feel a different emotion.

Figure 4: Woman with Dead Child by Käthe Kollwitz, British Museum, 1903

My aspiration is to find the ultimate expression of myself and leave part of that in my work. It is these honest embodiments of humanity that show great passion and ask the most complex questions.

Figure 5: Battlefield by Käthe Kollwitz, Honolulu Museum of Art, 1908

Jenny Saville is a hugely successful painter and is best known for her depictions of the naked female form (see Figures 6-8) that challenge conventional representations of the female body (Cohen, 2018). Her unique style is drawn from medical textbooks and celebrated paintings of the past (Jenny Saville | Life Through a Microscope, 2018).

Figure 6: Rosetta by Jenny Saville, Unknown, 2006

Saville has skillfully transcended the boundaries of classic figuration (“Jenny Saville,” 2018) so fits into Pollock’s category of an avant-garde artist. She has taken the work of Renaissance painters such as Titian but through her mark-making has propelled her paintings into an uncompromised future.

Figure 7: Knead by Jenny Saville, Galerie Daniel Templon Paris, 2006

I have a fascination with finding a unique figurative style to represent the human condition and reconnect us with our animal past and Saville’s work is part of that jigsaw. Everything about her painting is compelling from the angry brushwork and bloodied flesh to the vacant expressions of the subjects. She reduces the human form to meat as if the body has been turned inside out and we are viewing the internal experience or the human form trapped within.

I increasingly despair of much human behaviour and through my art I find a voice to share my values and remind society that we are flesh and blood and not the ultimate goal of evolution. By pushing, smearing and scraping paint around her canvases Saville shows us that by collapsing a breathing body we put a mirror in front of ourselves and remember that we are part of nature not removed from it. A confident mark-making style can lead the way to the most powerful outcomes:

“I care more about a work being powerful than beautiful.” — Jenny Saville

Figure 8: Stare by Jenny Saville, The Broad Los Angeles, 2005

I also enjoy Saville’s work because it avoids realism. She has swerved her linework away from her subjects so that it acts as an extension of the already distorted bodies. This twisted reality leaves huge gaps for interpretation — a technique that I am tuned in to for my own mark-making style.

Connection with nature

I have a deep passion for nature and it is where I seek much artistic inspiration. However, I have thought carefully about how to represent my environmental values through my art. A ‘doom and gloom’ approach to environmental awareness has been shown to be ineffective in our contemporary world (Razavi, 2019) and modern thinking is that a more ‘doom and bloom’ strategy has a better chance of effecting behavioural change.

Andy Goldsworthy is a land artist, sculptor and environmentalist who produces site-specific sculptures in natural and urban settings (Figures 9-11). He reconnects with the fabric of the earth to better appreciate and rehabilitate natural and human ecologies (Pheby, 2012).

Goldsworthy doesn’t go out to improve the land but to understand his place in it (Barkham, 2018). I find this connection with nature sublime as it encourages an almost meditative state (see Figure 9). He creates a reconfigured lens to show new layers of beauty — a tactic I employ consistently in my natural work.

Figure 9: Sycamore by Andy Goldwworthy, Berrydown Foundation Hampshire, 2013

Goldsworthy’s work resonates because (unusually for an environmentalist) he doesn’t lament the fragility of human life but tries to appreciate it within natural processes and he never set out to be a soapbox activist:

“The day I start preaching through my work is the day it stops having any meaning.” — Andy Goldsworthy

I have followed a similar exploration of environmental art based on personal wonder and mindfulness, hoping that others will follow rather than having it forced down their throats.

Much of Goldsworthy’s work is ephemeral, for example climbing through a hedge (Figure 10) and he invades urban spaces, as in his thirteen huge melting snowballs (Figure 11). Even here he denies donning a climate change hat and says these works are a forum for change, memory, replenishment and season (“DeCordova exhibition ‘Andy Goldsworthy: Snow,’” 2011).

Figure 10: Hedge walk by Andy Goldwworthy, Sinderby, England, 2018

Goldworthy’s transient street art doesn’t carry the normal label of being in opposition to laws, property and ownership (“Street and Graffiti Art Movement Overview,” 2019). He has broken free of the gallery to put his work in nature where it belongs. The melting back of his work into the landscape is surely the ultimate reminder that art is nature and nature is art. What more spiritual a message about the natural world could an artist possibly make?

Figure 11: Midsummer Snowballs by Andy Goldsworthy, London, 2000

I find transient art enticing as a concept as it exposes work to the unpredictable elements of time and weather. Nature becomes the hidden hand that ultimately decides what art becomes. It is a one-off and unrepeatable outcome which reminds us that life is a game of chance over which nature has the ultimate say.

My piece Escape from this Madness in Figure 12 explored the invisibility of the homeless in an urban environment by leaving melting ice sculptures in public locations. The fascinating aspect of this work is that I had to reconsider where the art lies — is it in the piece itself, is it the live viewing by the public or is it in the record of the event? For transient art like this, I believe the full narrative is a combination of all these outcomes.

Figure 12: Escape from this Madness by Richard Hyde, Nottingham, 2017

Much of Goldsworthy’s work has no audience and the work fades back into the landscape unseen other than by himself which is another timely reminder that nature has its own agenda and will prevail regardless.

An inclusive form of creativity underpins my artistic practice — one that constantly seeks the ‘avantgarde difference’ by paring back novel juxtapositions of concepts to reveal enlightening simplicity once redundant complexity is removed.  

My artistic influences all share a deep emotive quality, be that from the mark of the artist or through a mindful connection with nature. But I do not intend to provide answers as I firmly believe that art that explains itself fully is not worth creating.

I passionately believe that art has a significant role to play in solving many ills in society, from inequality to environmental destruction. The human condition has suffered and we need art to remind ourselves of where we came from, of the beauty of what we have and what we stand to lose. The modernist painter Marc Chagall sums up the responsibility that I feel like an artist — not to show nature but to connect humanity back with it:

“Great art picks up where nature ends.” — Marc Chagall

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Rockhill, G., 2014. Radical History and the Politics of Art, New Directions in Critical Theory. Columbia University Press, New York.

Ruskin, J., 2004. On Art and Life, Great ideas. Penguin Books Limited.

Schama, S., 2005. Jenny Saville. Rizzoli, New York.

Schrofer, J., 2018. Plan and Play, Play and Plan: Defining Your Art Practice. Valiz.

Sturken, M., Cartwright, L., 2009. Practices of looking : an introduction to visual culture, 2nd ed. ed. Oxford University Press.

Talks & Lectures | Jenny Saville [WWW Document], 2018. URL https://www.youtube.com/watch?v=c2NQZ5ggYJQ&t=1009s (accessed 1.29.20).

The Drawings of Käthe Kollwitz [WWW Document], n.d. The Drawing Source. URL https://www.thedrawingsource.com/kathe-kollwitz.html (accessed 1.20.20).

The Interview: Andy Goldsworthy | Art and design | The Guardian [WWW Document], 2007. URL https://www.theguardian.com/artanddesign/2007/mar/11/art.features3 (accessed 1.21.20).

Summarised from Daily Rituals: How Artists Work by Mason Currey (2013).

What Was Your First Memorable Experience at a Museum?

Have you ever had a magical moment with art.

Emma Holter | September 9, 2015 | 5 min read

Whether it happens on a school field trip or wandering by chance into a local art museum, everyone has a story about their first memorable encounter with art.

My first experience was actually at the Getty. My mother is one of the Getty Museum’s conservators, and it was because of her that I grew up surrounded by the Getty’s collection. I was maybe three or four (that’s me in the picture above), and I remember being mesmerized by Lawrence Alma-Tadema’s Spring . I imagined myself as one of the little girls carrying a basket of flowers through the marbled streets, and wearing a crown of flowers in my hair.

At that age, for me art captured a fantasy world, one that was more marvelous and enchanting than I could have ever imagined. As my mom led me through the Getty’s galleries, I would pretend to get lost in the landscapes, and imagine what it was like to be one of the people painted in the portraits.

What was your first experience? To hear more perspectives, I recently asked members of the Getty to share their first memorable experience at a museum.

Their stories give a behind-the-scenes look at the individuals who work at the museum and the meaningful, transformative experiences they have had with art. The fact that so many of these stories are set in childhood or adolescence demonstrates to me how important, enriching, and valuable it is to be exposed to art at an early age. These experiences created a foundation to pursue a career in the arts, and to continue a lifelong love for art.

A Chivalrous Child

As a five-year old I went with my parents to see the Hermitage Museum in what was then Leningrad. Or rather, my parents went to see it and took me along. They seemed to get lost—and I was about to lose it!—in the Old Master paintings, and particularly the Impressionist galleries. I constantly had to remind them that there is much cooler stuff to look at, namely the vast armory with its rows of full-body metal suits for knights! In her diary my mother complained that because of me she didn’t get to see more Monets. To this day, having worked mostly with ancient sculpture, I still have a preference for three-dimensional art. —Jens Daehner, associate curator of antiquities, Getty Museum

Roaming Free

I grew up in a small town with an important glass museum. When there was a big flood, they rebuilt the museum in a modified wheel shape with the highlighted objects in the center and more and more objects (different time periods, parts of the world, etc.) as you went further down the various spokes. I remember loving that idea, that you could skim over some things and then see everything in other areas, with choice guiding your exploration. I was allowed to roam free and pick my fancy depending on my mood (we went there a lot!).

Later in life, I fully understood the importance of looking at art with children when I took my young daughter to LACMA to look at the Altmann Klimts after they were reclaimed and before they were dispersed.  I remember to this day getting down on one knee, head to head, seeing from her vantage point, picture by picture, while we talked about what she saw. Magic. — Quincy Houghton, associate director for exhibitions, Getty Museum

Wanting More Time

As a child, I enjoyed three things: itineraries, beauty, and elephants. One year, as part of a school trip to Washington, D.C., my class was given a few hours to freely wander any one of the Smithsonian museums. I remember being perplexed as to why more time (read days) was not allotted to be able to mindfully visit these great institutions. Seeing this as a challenge, my chaperoning grandmother and I raced Ferris Bueller-style through the National Museums of Natural History, American History, and parts of the National Gallery. I knew exactly what I wanted to see and how to navigate the museum galleries thanks to Encyclopedia Britannica’s fold-out maps. Hours later and completely out of breath, we managed to see the Hope Diamond, the First Ladies’ gowns, Leonardo’s Ginevra de’ Benci , and of course the Fénykövi Elephant. That same spirit of adventure and discovery — and a desire to maximize every moment in a museum (but no longer at a sprint pace) — continues to guide my engagement with art and with visitors at the Getty. —Bryan Keene, assistant curator of manuscripts, Getty Museum

From Long Beach to the Getty

When I was a child, each Sunday in the summers my parents used to take us to a park in Long Beach that is right on the ocean. There they would meet up with longtime friends for a weekly picnic.  While the parents played cards and bocce (lawn bowling), the kids would run off to the beach and enjoy the water. This was in the days when parents would let their kids wander off alone.

The summer when I was about 10, I wandered off alone one afternoon and into the Long Beach Museum of Art, which was practically across the street. That summer the Museum had an exhibition of videos from its collection, and I was mesmerized. I literally spent hours and multiple subsequent weekends at the museum. And, each summer thereafter, I would spend my Sunday afternoons at the Long Beach Museum of Art. Ironically, those videos I saw so many years ago are now in the collection of the Getty Research Institute, having been acquired from the Long Beach Museum of Art in 2006. —John Giurini, assistant director for Public Affairs, J. Paul Getty Museum

Walking into the Middle Ages

When I was eight years old, my family moved to Kansas City, Missouri, just blocks away from the wonderful Nelson-Atkins Museum. It was one of the first places we visited after the move, and I remember literally walking into the Middle Ages—a complete cloister from fourteenth-century France. It was an immersive art experience. I remember feeling the stone (probably not allowed, but I was eight!), the low lights, seeing the delicate tracery carving, and weaving in and out of the spaces, imagining monks doing the same. It was like being transported to another world, and I still carry that feeling of wonder with me today when I experience medieval art. —Elizabeth Morrison, senior curator of manuscripts, J. Paul Getty Museum

As Soon As I Got My License…

I didn’t grow up going to art museums, not that I remember. But as soon as I had my driver’s license, I started visiting the Art Institute of Chicago with friends. It’s the museum where I have spent the most time and whose collection I know best—so well that I can visualize works that I remember well but whose names I never really learned, such as Chagall’s America Windows. For me, art museums have always evoked independence, and being able to choose how and with whom I spend my time. —Michele Ciaccio, managing editor, Getty Research Institute Publications

One Mile to LACMA

Growing up in L.A., we went to museums a lot . My dad would circle highlights in the members’ magazines (we were members of everything) and march my sister and me through the masterpieces, reading the texts aloud for our edification. At age 9, I did not want to be edified. I wanted to wander free, finding offbeat, mysterious, weird, touching, and funny things and unlocking their stories. Today I get to do that for a living.

After my dad died, I unearthed his enormous cache of museum takeaways — cards, photos, brochures, hundreds of scratched-up admission pins. Taking us to museums meant a lot to him. He grew up as a Lutheran minister’s son in Indiana, always longing for another museum trip to Chicago. In L.A., he could share the culture of the entire world with us, and all we had to do was drive a mile to LACMA. —Annelisa Stephan, manager for digital engagement, Getty Trust

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About The Author

Emma holter.

I'm a junior at New York University majoring in art history with a minor in creative writing. I essentially grew up at the Getty, but this past summer I was lucky enough to be a volunteer in the Museum's Social Media Department and the Manuscripts Department.

Comments on this post are now closed.

This blog post was fascinating, it’s always wonderful to see how childhood passions can shape a persons path in life.

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Essay on Art

500 words essay on art.

Each morning we see the sunshine outside and relax while some draw it to feel relaxed. Thus, you see that art is everywhere and anywhere if we look closely. In other words, everything in life is artwork. The essay on art will help us go through the importance of art and its meaning for a better understanding.

What is Art?

For as long as humanity has existed, art has been part of our lives. For many years, people have been creating and enjoying art.  It expresses emotions or expression of life. It is one such creation that enables interpretation of any kind.

It is a skill that applies to music, painting, poetry, dance and more. Moreover, nature is no less than art. For instance, if nature creates something unique, it is also art. Artists use their artwork for passing along their feelings.

Thus, art and artists bring value to society and have been doing so throughout history. Art gives us an innovative way to view the world or society around us. Most important thing is that it lets us interpret it on our own individual experiences and associations.

Art is similar to live which has many definitions and examples. What is constant is that art is not perfect or does not revolve around perfection. It is something that continues growing and developing to express emotions, thoughts and human capacities.

Importance of Art

Art comes in many different forms which include audios, visuals and more. Audios comprise songs, music, poems and more whereas visuals include painting, photography, movies and more.

You will notice that we consume a lot of audio art in the form of music, songs and more. It is because they help us to relax our mind. Moreover, it also has the ability to change our mood and brighten it up.

After that, it also motivates us and strengthens our emotions. Poetries are audio arts that help the author express their feelings in writings. We also have music that requires musical instruments to create a piece of art.

Other than that, visual arts help artists communicate with the viewer. It also allows the viewer to interpret the art in their own way. Thus, it invokes a variety of emotions among us. Thus, you see how essential art is for humankind.

Without art, the world would be a dull place. Take the recent pandemic, for example, it was not the sports or news which kept us entertained but the artists. Their work of arts in the form of shows, songs, music and more added meaning to our boring lives.

Therefore, art adds happiness and colours to our lives and save us from the boring monotony of daily life.

Get the huge list of more than 500 Essay Topics and Ideas

Conclusion of the Essay on Art

All in all, art is universal and can be found everywhere. It is not only for people who exercise work art but for those who consume it. If there were no art, we wouldn’t have been able to see the beauty in things. In other words, art helps us feel relaxed and forget about our problems.

FAQ of Essay on Art

Question 1: How can art help us?

Answer 1: Art can help us in a lot of ways. It can stimulate the release of dopamine in your bodies. This will in turn lower the feelings of depression and increase the feeling of confidence. Moreover, it makes us feel better about ourselves.

Question 2: What is the importance of art?

Answer 2: Art is essential as it covers all the developmental domains in child development. Moreover, it helps in physical development and enhancing gross and motor skills. For example, playing with dough can fine-tune your muscle control in your fingers.

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The Joy Of Art: An Essay On My Hobby Drawing

Essay On My Hobby Drawing: Drawing is one of the most ancient forms of human expression. From cave paintings to modern art, drawing has always been an important medium for humans to convey their thoughts and emotions. Drawing as a hobby is a wonderful way to explore your creativity, reduce stress, and improve your focus. In this essay, I will share my personal experience with drawing as a hobby, discuss the benefits of drawing, and provide tips for beginners to improve their skills.

In this blog, we include the Essay On My Hobby Drawing , in 100, 200, 250, and 300 words . Also cover Essay On My Hobby Drawing for classes 1, 2, 3, 4, 5, 6, 7, 8, 9, and up to the 12th class. You can read more Essay Writing in 10 lines, and essay writing about sports, events, occasions, festivals, etc… The Essay On My Hobby Drawing is available in different languages.

Benefits Of Drawing As A Hobby

Drawing as a hobby has several benefits that go beyond the joy of creating a beautiful piece of art. Drawing can help reduce stress and anxiety by providing a meditative and relaxing activity. When we draw, we enter into a state of flow that takes our mind off our worries and focuses it on the present moment.

Drawing can also be therapeutic. Art therapy is an established form of therapy that uses art as a means of expression and healing. Drawing can help us express our emotions, thoughts, and feelings in a non-verbal way. This can be especially helpful for those who find it difficult to express themselves through words.

Another benefit of drawing is that it can improve our focus and mindfulness. When we draw, we have to pay attention to the details of what we are drawing. This requires us to be fully present in the moment, which can improve our overall mindfulness and awareness.

My Experience With Drawing

I started drawing as a hobby when I was a child. I would spend hours creating doodles and sketches in my notebook. As I got older, I continued to draw, but I never considered it to be more than just a fun pastime. It wasn’t until I started experiencing stress and anxiety in my adult life that I realized the therapeutic benefits of drawing.

Drawing has become a form of meditation for me. When I draw, I am fully immersed in the process, and my mind is free from worries and stress. Drawing has also helped me express my emotions in a non-verbal way. When I am feeling overwhelmed or anxious, I can sit down and draw, and it helps me feel more centered and calm.

Drawing Techniques And Tools

Drawing is a skill that can be improved with practice. There are several drawing techniques and materials that can help beginners improve their skills. One of the most important things for beginners is to start with simple shapes and lines. This will help you develop a steady hand and improve your control over the pencil or pen.

There are several drawing materials that beginners can use, including pencils, pens, charcoal, and pastels. Each material has its own unique qualities, and it’s important to experiment with different materials to find the ones that work best for you.

In addition to the materials, there are several drawing techniques that beginners can learn. These include shading, perspective, and composition. Learning these techniques can help beginners create more realistic and dynamic drawings.

Inspiration And Motivation

Inspiration for drawing can come from anywhere and everywhere. Some people find inspiration in nature, while others are inspired by music or literature. One of the best ways to find inspiration is to explore different art forms and styles. This can help you develop your own unique style and vision.

Motivation is also an important factor in the drawing. Like any skill, drawing requires practice and perseverance. It’s important to set goals and challenges for yourself to stay motivated. You can also find motivation by joining a community of artists or taking a drawing class.

Drawing as a hobby has several benefits that go beyond the joy of creating a beautiful piece of art. Drawing can reduce stress, improve focus and mindfulness, and be therapeutic. Learning drawing techniques and experimenting with different materials can help beginners improve their skills. Finding inspiration and staying motivated are also important factors in becoming a skilled artist. Drawing is wonderful.

Read More: My Hobby Essay

FAQ’s On Essay On My Hobby Drawing

Question 1. Why is drawing my hobby?

Answer: However, I can tell you that people have different reasons for taking up drawing as a hobby.

• Some people find drawing to be a relaxing and meditative activity that helps them reduce stress and anxiety. Others enjoy the creative process and the satisfaction of creating a beautiful piece of art. Some people use drawing as a means of expressing their emotions and thoughts in a non-verbal way.
• Drawing as a hobby can also be a way of challenging oneself and improving one’s skills. Learning new techniques and experimenting with different materials can be a fun and rewarding experience.
• Ultimately, the reasons for why drawing is your hobby are unique to you and may be influenced by your personal experiences, interests, and passions.

Question 2. How do you write a drawing essay?

Answer: Writing a drawing essay involves describing and analyzing a visual artwork, such as a painting, sculpture, or graphic design. Here are some steps to follow:

• Choose an artwork: Select an artwork that you want to write about. It’s best to choose a piece that you have seen in person, but if that’s not possible, find a high-quality image of the artwork to use as a reference.
• Observe and analyze: Look at the artwork carefully and take notes on what you see. Note the colors, shapes, lines, and textures used in the piece, as well as any patterns or motifs. Think about the overall composition of the artwork and how the various elements work together to create a visual impact.
• Research the artist and the artwork: If you’re writing a formal essay, you’ll want to research the artist and the artwork to provide context and background information. Find out when and where the artwork was created, what inspired the artist, and what artistic movements or styles influenced the piece.
• Develop a thesis statement: Your thesis statement should summarize the main point you want to make in your essay. It might be an analysis of the artwork’s meaning, an exploration of the techniques used by the artist, or a comparison of the artwork to other works in its genre.

Question 3. What is your favorite hobby and why is drawing?

Answer: Drawing can be a favorite hobby because it allows for self-expression and creativity. It can also be a relaxing and therapeutic activity that helps to reduce stress and anxiety. Furthermore, drawing can be a way to improve fine motor skills and hand-eye coordination. Additionally, with practice, it can lead to the development of a unique style and a sense of accomplishment.

Question 4. How do you mention drawing in hobbies?

Answer: If you want to mention drawing as one of your hobbies, you can do so in a variety of ways. Here are a few examples:

• “In my free time, I enjoy drawing. It’s a creative outlet that allows me to express myself and explore new ideas.”
• “One of my hobbies is drawing. I find it to be a relaxing and meditative activity that helps me unwind after a busy day.”

Question 5. How do you describe your drawing?

• Describe the subject matter: What is your drawing depicting? Is it a landscape, a portrait, a still life, or something else?
• Highlight the style: What techniques did you use in your drawing? Are there any unique features or elements that make it stand out?
• Comment on the composition: How did you arrange the elements in your drawing? Did you use any particular techniques to create balance or movement?
• Explain your intention: What message or feeling were you trying to convey with your drawing? What inspired you to create it?

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Best Art Essay Examples

My experience with the museum of modern art.

1092 words | 4 page(s)

The first of my favorite works of art was Henri de Toulouse-Lautrec’s Jane Avril (1899), a lithograph. The piece is part of an ongoing exhibition at the MOMA which focuses on Paris during the time period of Toulouse-Lautrec. Whereas the lithograph of Jane Avril is remarkably simple in its composition, consisting only of a woman dressed in the fashion of the time against an empty beige background, the piece nevertheless had the effect of transporting the viewer back in time. Namely, the work is clearly the product of a specific time period and thereby creates a change in perspective whereby the viewer shifts from a contemporary setting to a historical setting. One of the questions that the work prompted in me was the following: from one perspective, the piece could be considered as entirely dated, clearly identifiable with a particular historical period, as though I were to photograph a strip mall with a McDonald’s at the beginning of the 21st century. However, at the same time, even though a piece of art is clearly the product of a historical period, it nevertheless still can speak across the gap of time. In other words, the piece interested precisely because it engenders questions about how a work of art reflects its time period and may also transcend its time period.

Another of my favorite pieces was Lygia Clark’s Máscara abismo com tapa-olhos (Abyssal mask with eye-patch, 1968), a work made of fabric, elastic bands, a nylon bag, and a stone). (MOMA, 2014 http://www.moma.org/visit/calendar/exhibitions/1462) The piece in question is a photograph of this piece, which is, as the title indicates, a type of mask with the aformentioned ornamentation. The piece interested me because it was not a standard piece of art, as I am used to experiencing, but rather something else. a mask, and a photograph of a mask, clearly have a concept behind them, which makes the piece be perceived as a work of art. This is not to say that more traditional artworks, such as paintings or sculptures, do not have a concept, but rather here the concept itself is what is significant, rather than remarking, for example, that a painting is beautiful or faitfhully captures its subject matter. This is not to say that the mask in question does not also have an aesthetic value, but rather that it promotes questions about how we classify what art is.

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My favorite artist in the exhibition was the aformentioned Henri de Toulouse-Lautrec, precisely because its seems that his work captures a specific historical period. It represents, in other words, what the layman considers art to be. The deeper questions, however, that arise from this artist is what makes him interesting for me: why would I more closely associate a definition of art with this artist’s work than other artists’ work, when considering that it is also a reflection of a specific time and place? Perhaps this is an intuitive understanding of what art is: we are taught to think that good art is what is considered to be art by various institutions, experts, professionals, etc., But I think Toulouse-Lautrec’s work challenges some of our preconceptions about what art is, in other words, forcing us to think about what may be considered art in our time period.

My second favorite artist was Robert Heinecken’s work, for example, his “Are You Rea #1.” Heinceken almost seems to represent a Toulouse-Lautrec figure, but in an American context. He, in other words, portrays images from a certain time period, i.e., American pop culture, which are specifically bound to a historical and social context. Heinekcen’s work shows us how art can appear in any type of context and is not so bound to institutional definitions of what art is. His work is experimental, but also contemporary, presenting objects that we immediately identify with, because of the social structure of our lives, however, at the same time, his work is art and this allows us to re-think questions about what makes a given object art.

What I most found unexpected about the webpage was not the works of art themselves, but rather the way in which the website is structured. The MoMA website tries to re-create the experience of visiting a collection or a museum through the virtual form. This was unexpected for me, in so far as I did not know that museums were taking such a dynamic and modern approach to art. In other words, the website in a certain sense wants to supplement or even replace the experience of visiting a museum through the detail of its website. Certainly, from one perspective, this could be considered a negative, in as much as it may discourage visitors from attending the museum since everything is online. However, from another perspective, such an approach familiarizes the individual with the museum experience and encourages him or her to visit a museum in this way.

The art displayed in the MoMA site are so diverse that it is difficult to identify particular styles which dominate. Arguably, however, this is the very point of MoMA: to show the diverse ways in which an object, a painting, a photograph, etc., may approach ideals of what art means. The new perspective I have gained on art from visiting the online MoMA is therefore an understanding of the very diverse ways in which art can present itself: art is not limited to, for example, a certain painting technique, a certain technique for sculpture, and not even to painting or sculpture, but rather encompasses the entire range of aesthetic experiences. In this sense, the greatest interest of the MoMA site is the way in which it challenges preconceptions about aesthetics.

The site above all underscored to me the fact that art is not something historical, but exists in the present day. To the extent that our lives are defined by, for example, economic obligations, it is also important that individuals are introduced to the fact that art still exists in the contemporary era. For this reason, MoMA relates to the history of art in a manner that shows that art is not historical, but is ongoing, present in every instance. Understanding the history of art, from this perspective, is important to grasp how historical art forms influence and perhaps shape modern approaches to art.

• Clark, Lygia. wearing Máscara abismo com tapa-olhos (Abyssal mask with eye-patch, 1968. New York: MoMA.
• De Toulouse-Lautrec, Henri. (French, 1864–1901). New York: MoMA.
• Heinecken, Robert. Are You Rea #1. 1964–68. Lithograph, New York. MoMA.

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Sophia Bush confirms relationship with Ashlyn Harris: ‘The universe had been conspiring for me’

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Sophia Bush finally feels like she can breathe after coming out as queer and opening up about her long-rumored relationship with soccer star Ashlyn Harris.

“When I take stock of the last few years, I can tell you that I have never operated out of more integrity in my life. I hope that’s clear enough for everyone speculating out there,” the “One Tree Hill” alum wrote Thursday in an essay for the April issue of Glamour .

Sophia Bush, soccer star Ashlyn Harris spark dating rumors after respective divorces

‘One Tree Hill’ alum Sophia Bush and retired USWNT goalkeeper Ashlyn Harris reportedly ‘went out on their first dinner date a couple of weeks ago.’

Oct. 18, 2023

The 41-year-old detailed how her one-year marriage to Grant Hughes felt phony and fell apart amid her grueling fertility issues. She also explained how her recovery from that relationship led her to Harris, who simultaneously had been going through her own divorce from former teammate Ali Krieger.

Bush wrote that after her storybook wedding — which she doesn’t regret — she found herself “in the depths and heartbreak of the fertility process.” She kept all that private as she endured months of ultrasounds, hormone shots, blood draws that led to scar tissue in her veins and numerous egg retrievals, “while simultaneously realizing the person I had chosen to be my partner didn’t necessarily speak the same emotional language I did.”

The “Work in Progress” and “Drama Queens” podcast host said she felt something in her “seismically shift” about six months into that journey and “knew deep down that I absolutely had made a mistake,” ultimately filing for divorce after about 13 months of marriage. Her separation from Hughes, an entrepreneur and real estate investor, saw Bush moving to London “to get out of our house” and doing a play to “jump-start the joy” she had been chasing. (She withdrew from “2:22 A Ghost Story” in July 2023 due to illness.)

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The “Love, Victor” and “Chicago P.D.” actor moved back to her empty home in L.A. last summer and said that an ever-expanding group of women in her life started opening up about their own issues. That group included the “kind ear” of the U.S. Women’s National Team goalkeeper, whom she’d first met in 2019. She didn’t expect to find love there.

“I don’t know how else to say it other than: I didn’t see it until I saw it. And I think it’s very easy not to see something that’s been in front of your face for a long time when you’d never looked at it as an option and you had never been looked at as an option.”

It took other people in their “safe support bubble” to point out to Bush that she and Harris would finish each other’s sentences or be deeply affected by the same things, she wrote.

Sophia Bush thinks she is one of the better Bushes

April 21, 2024

Reports about the couple’s romance surfaced in October, months after they each filed for divorce. The “One Tree Hill” alum and the U.S. Women’s National Team goalkeeper reportedly went out on their first dinner date a couple of weeks prior, People reported at the time, and TMZ asserted that they were “officially a thing.”

In her essay, Bush shed light on that purported first date, which she described as a 4½-hour meal that was “truly one of the most surreal experiences of my life thus far.”

“I do know that for a sparkly moment I felt like maybe the universe had been conspiring for me,” she wrote. But navigating the judgment she felt in the public eye was disheartening.

“The ones who said I’d left my ex because I suddenly realized I wanted to be with women — my partners have known what I’m into for as long as I have (so that’s not it, y’all, sorry!),” she wrote, noting that she didn’t leave her marriage because of some random rendezvous but rather after a year of “doing the most soul-crushing work of my life.”

Sophia Bush files for divorce from husband Grant Hughes after 13 months of marriage

Sophia Bush has filed for divorce from husband Grant Hughes. The news comes seven weeks after Hughes and the ‘One Tree Hill’ alum celebrated their first anniversary.

Aug. 4, 2023

Bush also fawned over her partner‘s integrity and love for her children. As for her identity, the life-long LGBTQIA+ ally described feeling at home with the queer community.

“I think I’ve always known that my sexuality exists on a spectrum. Right now I think the word that best defines it is queer,” she wrote. “I can’t say it without smiling, actually. And that feels pretty great.”

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Sophia Bush comes out as queer, confirms relationship with Ashlyn Harris

Actor Sophia Bush came out as queer in an emotional essay in Glamour and confirmed she’s in a relationship with retired U.S. Women’s National Team soccer player Ashlyn Harris. 

“I sort of hate the notion of having to come out in 2024,” Bush wrote in a cover story for the fashion magazine published Thursday. “But I’m deeply aware that we are having this conversation in a year when we’re seeing the most aggressive attacks on the LGBTQIA+ community in modern history.” 

Bush noted that there were more than 500 anti-LGBTQ bills proposed in state legislatures last year and said this motivated her to “give the act of coming out the respect and honor it deserves.” 

“I’ve experienced so much safety, respect, and love in the queer community, as an ally all of my life, that, as I came into myself, I already felt it was my home,” she wrote. “I think I’ve always known that my sexuality exists on a spectrum. Right now I think the word that best defines it is queer . I can’t say it without smiling, actually. And that feels pretty great.”

The “One Tree Hill” star filed for divorce from entrepreneur Grant Hughes in August. People magazine first reported in October that Bush and Harris were dating, but neither confirmed nor commented on the report. The pair later attended an Oscar’s viewing party together in March . 

In the essay, Bush addressed online rumors that her relationship with Harris began before Harris had officially divorced from fellow soccer star Ali Krieger, in September. 

“Everyone that matters to me knows what’s true and what isn’t,” Bush wrote. “But even still there’s a part of me that’s a ferocious defender, who wants to correct the record piece by piece. But my better self, with her earned patience, has to sit back and ask, What’s the f------- point? For who? For internet trolls? No, thank you. I’ll spend my precious time doing things I love instead.”

Bush said that after news about her and Harris became public, her mom told her that a friend called and said, “Well, this can’t be true. I mean, your daughter isn’t gay .” 

“My mom felt that it was obvious, from the way her friend emphasized the word, that she meant it judgmentally,” Bush wrote. “And you know what my mom said? ‘Oh honey, I think she’s pretty gay. And she’s happy .’”

Bush wrote that she felt like she was wearing a weighted vest that she could finally put down. 

“I finally feel like I can breathe,” Bush wrote. “I turned 41 last summer, amid all of this, and I heard the words I was saying to my best friend as they came out of my mouth. ‘I feel like this is my first birthday,’ I told her. This year was my very first birthday.”

For more from NBC Out, sign up for our weekly newsletter.

Jo Yurcaba is a reporter for NBC Out.

Home — Essay Samples — Arts & Culture — Museum — My Experience of Visiting the Denver Art Museum

My Experience of Visiting The Denver Art Museum

• Categories: Museum

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Words: 333 |

Published: Jan 4, 2019

Words: 333 | Page: 1 | 2 min read

Cultural Activity 1 – Redo

Works cited.

• Ancona, R. (2018). Latino/a art activism: Engaging culture and change. University of Texas Press.
• Ayala, K. J., & Medina, C. (Eds.). (2017). Latino art and culture in the United States: The Mexican-American experience. ABC-CLIO.
• Debro, A. S. (2019). Artistic diversity in contemporary Latino/a art: Exhibiting cultures and identities. University of Arizona Press.
• Delgado, M. C. (2017). Latino art in the US: Beyond stereotypes. Smithsonian American Art Museum.
• Espino, C. M. (2016). Latino art collection: Tattoo-Inspired Chicano, Maya, Aztec and Mexican Styles. CreateSpace Independent Publishing Platform.
• Flores, L. E. (2014). Mexican American Mojo: Popular music, dance, and urban culture in Los Angeles, 1935–1968. Duke University Press.
• Galindo, M. (2018). Chicano art for our millennium: Collected works from the Arizona State University community. Arizona State University Art Museum.
• Galvez, M. C. (2014). A companion to Latina/o studies. Wiley-Blackwell.
• Ochoa, S. R. (2014). Andean expressions: Art and archaeology of the Recuay culture. University of Iowa Press.
• Paredes, A., & Cantu, R. (2018). Latino/a literature in the classroom: Twenty-first-century approaches to teaching. Routledge.

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Guest Essay

An Octopus Took My Camera, and the Images Changed the Way I See the World

By Craig Foster

Mr. Foster’s film, “My Octopus Teacher,” won the Academy Award for best documentary feature in 2021. He wrote from Simon’s Town, South Africa.

I was gifted with a new way of seeing the day I got mugged underwater. I had been filming creatures living in the Great African Sea Forest off the coast of South Africa about a year ago when my camera was grabbed straight out of my hands by a young octopus thief. Wrapping her arms around her bounty, she zoomed backward across the ocean floor.

This was not the first time I’d found myself at the mercy of an eight-armed robber. A couple of years earlier, another curious octopus stole the wedding ring off my wife’s finger, never to be recovered. Octopuses love novel shiny things. Peering into their dens, I’ve found earrings, bracelets, spark plugs, sunglasses and a toy car with a revolving cylinder that the octopus spun round and round with its suckers.

As I wondered how to get my camera back without alarming my young friend, something surprising happened. She turned the camera around and began to film my diving partner and me.

The intriguing images she captured — videos of her own arms draped over the camera lens with our bodies in the background — had a profound effect on me. After many years filming octopuses and hundreds of other animals that call the Sea Forest home, for the first time I was seeing the world — and myself — from her perspective.

We must have looked strange to her in our masks and with our underwater flashlights. But in that moment I remembered that despite all our technology, we are not so different from our animal kin. Every breath of air, every drop of water, every bite of food comes from the living planet we share.

Monday is Earth Day, and I am tempted to ask myself how humanity can save our wild planet and undo the devastation we have unleashed upon the natural world. Where I live, in the Cape of Good Hope, I am privileged to be surrounded by nature, but we are grappling with pollution and dwindling numbers of shellfish, fish, raptors and insect species. Worldwide, we are at a tipping point with an estimated 69 percent decline in wildlife populations.

When I consider the vast network of living creatures on earth, it’s clear that “saving the planet” is the wrong goal. Unless earth gets obliterated by an asteroid or experiences some similar catastrophic event, the planet could go on for several billion years. But without the biosphere that makes it possible for us to eat and breathe, humanity could not survive.

The question we should be asking is what caused the precipitous increase in species loss and what can we do to reverse it. To me, it all started when we disconnected from our wild origins. While agricultural and technological revolutions have enabled massive population growth and innovation , they have also instilled the belief that we can control nature, that our planet is an infinite resource to be mined for our advancement, comfort and entertainment.

Today 56 percent of the world population lives in urban areas, a percentage expected to grow to nearly 70 percent by 2050 . That means that more than half of us are cut off from reminders that we are still part of nature and utterly dependent on its health. It’s only when something truly devastating happens, like the recent flooding in Dubai, that we remember that even the greatest human advancements can be brought to a standstill by nature’s power.

I am not calling for us to leave all modern comforts behind, just pleading for us to get to know nature better, rather than try to “save” her.

In the past decade I have taken more than 4,000 dives in the Sea Forest. My encounters with mollusks, sharks and jellyfish there have convinced me that there is much we will lose if we do not value the tremendous abundance of life on earth.

We do this first by protecting biodiversity hot spots and by restoring degraded ecosystems; the enormous regenerative power I see every day in nature is what gives me hope for the future. It also means learning from and supporting Indigenous people who protect 80 percent of the world’s biodiversity and who have, over millenniums, developed many innovative ways to live with the land and sea. One promising example of partnership is a recent grant from the National Science Foundation to support collaboration between Indigenous ecological knowledge and Western science.

Activities that cause long-term destruction of the sea and earth, such as strip mining , deep sea mining and industrial trawling, need to be halted immediately. Farming methods have to change, with greater emphasis on soil recovery and regeneration . We must continue to find alternatives to fossil fuels and push for a worldwide reduction in the production and use of plastics.

But each of us has a role to play, too; it starts with challenging ourselves to reconnect with the wild. So much of our modern world seems designed to tame us: to dull our minds, to separate us from the natural world, to convince us that what will help us survive is more consumption.

Like my octopus friends, we fill our houses with shiny new things. But our piles of stuff are much bigger and the cost of acquisition much greater.

We can break free of this tame conditioning. When we dedicate even just a few minutes per day to observing wild creatures on their own terms, in their own homes, regardless of where we live, we connect with the concept of biodiversity not simply on an intellectual level but also on an emotional level. We see the world differently — and ourselves, too.

How strange it is that one silly primate can see itself as separate from all those it shares this world with. What might happen if we remembered we are a part of this wild world — and let that understanding and humility guide every choice we make?

Craig Foster is a co-founder of the Sea Change Project and the author of the forthcoming “Amphibious Soul: Finding the Wild in a Tame World.” His film “My Octopus Teacher” won the Academy Award for best documentary feature in 2021.

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