The student put together a half-assed conceptual effort with no demonstration of skill or technique.

Result #1

What stood out to me most was the power of the title of this show: Felder aufsäule Felder is a word used to describe a dark, mysterious environment. It often refers to an overall structure, which is generally constructed to protect and restrain the illusory world. This is why it is usually used in Germany as a noun: it can also be used as a verb: feigen = to give shelter. Mappelt rezeit hat ein guter Auswärtschaft (No matter how you feel at any given moment, you are as strong as ever before) in the famous passage from Gauguin's Ars Musica (1851) is a quip that sums up the essential enigma of the modern modernist ethos: that no matter how protective and circumscribed our bodies become, we are always strong. The word is seldom used as a metaphor for a people, but as a mode of organizing public space. Its usage has been understood to refer to the cosmopolitan—the globalized—world that exists in every piece of land, building, and city. This is what drives the spirit in Felder. Beethoven: The Spirit of Rock, 2012, the most recent piece in the show, is an installation incorporating three-dimensional elements to the drawing and installation of a digital digital print. It offers an analysis of the spirit in Felder, as an energetic and liberating force that transforms and, above all, escapes the limitations of the site. Like the words of Shakespeare, the title in German, which both references and synthesizes all the names of the German language, Felder is a modernist idea of freedom.

Result #2

The student put together a half-assed conceptual effort with no demonstration of skill or technique. Was his audience aware of his product? Is it just a sign of the times? The answer, of course, is neither. The word today, education, as applied to arts subject, is something of a modernizing joke. Even so, at the MFA level, there are a large number of arts students out there who have enjoyed some sort of graduate-school program. (WILLIAM BRADLEYs 1969 Arts and Crafts seminar taught an artist how to make a sculpture) Of course, the art-as-usual movement continues. And what is the lesson of a teacher who is teaching a new generation of art students? What is his or her point? My guess is that it is one that sees in art, the aestheticity of the present and the subtlety with which he or she delivers the instruction. . . . Some of the most innovative art education in the country today is sponsored by industry and, in some cases, by government—meaning, for example, the arts of American cities and industries that have been developed with the support of industry, or of those that have been adopted by the public at large. And some of the most successful art education is done by people with the most money: the children of the wealthy, for example, are told in art school that the whole world of art is a fraud; the children of the poor are taught that art is created by men and men created art.Ive seen art schools that are filled with students who lack the ability to handle real art, but no one in the school system is willing to admit this fact. At the present time, all the art schools have to do is get a few students who may not have the ability to handle real art to get a work of any merit at all. So they offer the products that they have. One of the strangest of these is an art-school that has two years of history on its faculty—the history of art in its modern form.

Result #3

They seemed to take the pose as a given. The result is a loose reference to Art and Science and the classical idea that the work of art has a spirit.This work draws on works by Schubert, Velázquez, and other artists who speak to the effects of technology on the psyche. Many of the pieces are crude, but some of the paintings are richly nuanced. The drawings, colored pencils, and photographs that make up the more complex pieces, are the artists only contribution to the show. But the mental attitude to the work, in the form of a lifetime of self-conscious thinking, goes far in promoting an appreciation of the artists vision.

Result #4

The student put together a half-assed conceptual effort with no demonstration of skill or technique. His work relies on formal rules and other kinds of analysis that are usually dictated by instinct rather than thought. The result is an absurdity that operates on the emotional level, creating for him an atmosphere of mindlessness and overconfidence.Much of the work is a parody of the efforts of the art establishment. In a series of works entitled Praxis, a series of Lilliputian dreams is shown with an almost mechanical efficiency. The dreamer is shown lying naked on his back, surrounded by various objects and images. He seems to be an inept craftsman who must have taken on a very heavy load. One piece depicts the silhouettes of a man and a woman who have had their heads blown off and are lying on a bed, surrounded by a flurry of stars. There is a surrealistic element to this dreamlike piece. The work is set up in a number of humorous and absurdly ironic ways. One finds a piece entitled Death Takes Its Toll, a work in which the protagonists is given a piece of firewood as a gift. He opens the firewood and discovers that it has been scorched. He then takes a bowl of milk and puts it on his head in an attempt to destroy the demon who has appeared in the image. The result is a clever, ironic object that is suitable for the stage. In another piece entitled Orpheus and Eurydice, the main character of the piece has a puppet-like look. In this piece, the character Eurydice, dressed as a beautiful woman, has been cast into a temple and tortured to death with a stick. The puppet seems to be showing the agony of her suffering. Another character, Orpheus, is shown being executed with the idea of a pillow-cut which is to be used as a pillow. The executioner then comes out with a hammer and an axe, mauling the dummy.

Result #5

 A mediocre student worked hard to please the instructors rather than the other way around.  These sadistic, confused, and ineffective concepts were better used by an ambitious amateur. Many of the best ideas were foolish and perhaps even wrong.  Some of the best ideas were stupid and were often considered as jokes to be laughed at. If teaching had been the only measure of creativity in art, it would have been the quality of the artwork that would have been judged most important. Now, however, it is the quality of the work that makes a difference in the sense that the idea comes from a scholar rather than from an amateur. A newly minted scholar is not a hand-picked fool but the person who thinks that there is an art idea worth writing about. The point is that art ideas are too good to be true and too good to be true. It is not that students, given the chance, should get bogged down in trivial ideas, but that students are too good to be interesting. These students must be presented in an environment of intense intellectual activity to convince themselves that they are intelligent. Art students are some of the best art students. They are the best art students because they are intellectual, not naive. This is a rare phenomenon, but it is one that most art students are still in search of. On the other hand, for many artists, intellectuals, and intellectuals, intellectual activity is a life-giving material act. Through intellectual activity, knowledge is developed and knowledge spreads. So while some of the best ideas are stupid, intellectually active students, intellectual activity is still a vital source of ideas.