Art Exhibitions For Maryland Institute College Students University Essay Example

Openings of art exhibitions are usually discussed as important cultural events in any community, and many people become interested in the artworks of young and reputable artists and sculptors. However, if ordinary people just perceive attending art exhibitions as one more approach to improving the leisure time, students of Maryland Institute College of Art (MICA) are usually obsessed with art exhibitions. There are two main arguments for MICA students’ attention to this specific stuff: to examine the works of other artists and to demonstrate one’s own art pieces.

MICA students use any opportunity in order to visit a new art exhibition of famous modern artists in any state of the country. It seems that there are no barriers for real fans of art. Nevertheless, it is even more preferable when shows, installations, and exhibits are organized in Maryland. When looking at different artworks, students specializing in art are not just typical spectators, but they are both evaluators and seekers of inspiration (Hudson & Noonan-Morrisey, 2014). Thus, a modern artist can find both loyal fans and strict critics among MICA students because these young people perceive art as the major part of their life.

Additionally, MICA students also like to attend exhibits organized in their institute to enjoy the works of their peers. They discuss these exhibitions as a good chance to understand what culture or art movement they currently belong to. On the one hand, there cannot be any competition among students specializing in art because it is almost impossible to compare their creative works (Kleiner, 2015). For example, art teachers will not be able to find two similar portraits of an artist’s model among students’ works because their approaches to portraying are different. On the other hand, MICA students visit exhibits to compare and contrast their works with their peers’ ones and make conclusions. It is important to understand whether their approach to portraying people or depicting objects is as creative or traditional as their peers’ is.

Furthermore, MICA students represent a community, the members of which support one another on the path to developing a talent and realizing a potential. Therefore, students extremely like exhibits that are organized in order to demonstrate their own works. Artists need the recognition and assessment of their peers and the public to become even more creative and innovative in their choice of specific tools, methods, and messages (Sachant, LeMieux, & Tekippe, 2016). As a result, MICA students regard each exhibition organized in the institute or in Baltimore as an opened door for them to demonstrate particular talents and accomplishments.

In the community of MICA students, the process of selecting and attending art exhibitions can be compared to the process of choosing a movie to watch with a group of friends in the evening. Moreover, it is possible to admit that MICA students can receive even more satisfaction than fans of movies because of the variety of feelings and emotions typical of an exhibition visitor. Pieces of art can provoke a lot of thinking and even boost creativity; therefore, art exhibits are always in MICA students’ lists that include tasks to complete as often as possible. That is why, it is possible to conclude that visiting exhibitions is the stuff that MICA students really like because they continuously need new sources of inspiration and stimulus.


Hudson, S., & Noonan-Morrisey, N. (2014). The art of writing about art (2nd ed.). New York, NY: Cengage Learning.

Kleiner, F. S. (2015). Gardner’s art through the ages (15th ed.). New York, NY: Cengage Learning.

Sachant, P. J., LeMieux, J., & Tekippe, R. (Eds.). (2016). Introduction to art: Design, context, and meaning. Dahlonega, GA: University of North Georgia.

Immanuel Kant: Categorical And Hypothetical Imperatives

Grounding for the Metaphysics of Morals, Immanuel Kant’s first mature work dealing with moral philosophy aims at exposing foundational principles that are to govern human behavior. One of the concepts indispensable from Kant’s metaphysics of morals is that of moral imperative. This essay will discuss the difference between categorical and hypothetical imperatives and provide two examples of each type of imperative. The concepts of will, principle, and reason within Kant’s philosophical framework will also be discussed.

Kant is convinced that the only human trait that allows for complying with the moral law is goodwill. The philosopher defines goodwill as the faculty of mind that compels an individual to act out of a sense of a moral obligation. Moral obligation rules out practicality and human passions, which lets a person use his or her reason – the faculty based on reliable data, rationality, and logic rather than experience and emotions. Lastly, for an individual to be moral, it is essential to follow the foundational principles – a set of rules that explain what it takes to be a rational being.

Kant gives three formulations of the categorical imperative:

  1. “Act only according to that maxim whereby you can at the same time will that it should become a universal law (30).”
  2. “Act in such a way that you treat humanity, whether in your own person or in the person of any other, never merely as a means to an end, but always at the same time as an end (36).”
  3. “Thus the third practical principle follows [from the first two] as the ultimate condition of their harmony with practical reason: the idea of the will of every rational being as a universally legislating will (44).”

There is a clear rationale for giving three different formulations for the same law. Together, they convey and develop the idea in the most precise and conclusive way: one should not do what could not be universalized, and at that, humanity in oneself or other people should be an end, not a means. The third formulation states what is required to follow the first two rules: autonomy that makes a person a legislator among the ends.

Therefore, the categorical imperative is a command all human beings need to follow with no regard to any means that they might or might not have to fulfil the prescribed duty. The categorical imperative is unconditional at all times solely on the premise that humans possess willpower and reason. The hypothetical imperative, on the other hand, is conditional and only applies if a person wishes to attain the goal, a prerequisite of which is following a specific rule. The hypothetical imperative takes into account the presence or the lack of means and resources required for compliance.

The same idea can be expressed using the categorical and hypothetical imperative. For instance, Biblical Commandments are prime examples of the categorical imperative: “You must not commit murder,” “You must not commit adultery,” to name two. For Christians, these Commandments are always valid; it is safe to say that they are reasonable from the secular standpoint as well. Now, it is possible to turn the given Commandments into hypothetical imperatives: “You must not commit murder if you do not want to go to jail,” “You must not commit adultery if you do not want to be judged.”

The question arises as to how obligatory following the latter is if a person does not mind the judgment. Further, one wonders as to how moral an individual who only avoids manslaughter for fear of imprisonment is. Thus, according to Kant, moral law cannot be based on hypothetical imperative due to its conditional nature.

Together, a human being’s duties constitute the supreme unconditional law transcending nations and times and thus, applicable in any situation. The prerequisites for moral judgment are freedom of choice and goodwill. They allow a person to comply with the categorical imperative and take actions based on universal principles as opposed to complying with the hypothetical imperative because it benefits the said person.

Work Cited

Kant, Immanuel. Grounding for the Metaphysics of Morals. Translated by James W. Ellington, 3rd ed., Hackett, 1993.

Wynton Marsalis: Jazz In Marciac 2009

Concert and Performers

This report will cover the performance by Wynton Marsalis and the ensemble at the Jazz in Marciac festival in 2009. Wynton Marsalis is an internationally acclaimed vocalist, musician, and composer from New Orleans, Louisiana, with an impressive repertoire ranging from jazz to classical music. The musician’s vision is based on the foundational principles of jazz: support of creativity, cooperation, sophistication, and persistent optimism in times of trouble (“Biography”).

At Jazz in Marciac, Marsalis was accompanied by Gordon (trombone, vocals), Goines (clarinet, saxophone), Wilber (clarinet, saxophone), Franc (soprano saxophone), Nimmer (piano), Enrique (bass), and Jackson (drums) (“Wynton Marsalis”). I have chosen this particular performance for my love of jazz and sincere interest in the 40-year traditions of Jazz in Marciac festival that never fails to attract renowned musicians.

Music and Musical Characteristics

Jazz is an incredibly diverse and complex musical genre that originates from the United States of America. The original performers of musical genres which later contributed to the emergence of jazz were slaves. Their striving for freedom and self-expression was what gave this genre the liberal character, rhythmical urgency, and space for improvisation. The performance by Marsalis and the ensemble has the key characteristics of jazz: syncopation keeps listeners at the edge of their seats, whereas swing creates a smooth forward momentum (Terefenko 20).

Style and Genre

The program consists of eight compositions:

  1. “The Sheik of Araby” is a 1921 song by Illinois-born composer Ted Snyder and New York lyricist Harry Smith. The song has become part of popular culture and has undergone numerous notable recordings by accomplished musicians. The song is characterized by a playful tone and upbeat rhythm as it was written in response to a 1921 romantic adventure film, The Sheik.
  2. “Egyptian Fantasy” is a 1949 song by American composer Sydney Bechet. Like Marsalis, Bechet was born in New Orleans, and by performing this bohemian, lush tune, Marsalis may be paying homage to his countryman.
  3. “Cake Walking Babies from Home” is a 1925 popular song by Eva Taylor and Clarence Williams. The jazz vocabulary of this composition is incredibly rich, and the fast-paced music flow takes many unexpected turns before coming to an abrupt end.
  4. “Summertime” is a 1945 aria by George Gershwin, which is recognized as one of the finest musical pieces to date as it masterfully combines jazz elements and African-American singing styles from the 1920s.
  5. “Promenade aux Champs Élysées” was written by Sidney Bechet in 1949 following his emigration to Paris, which must have served as an inspiration for this moderate-tempo elegant composition.
  6. “Petit Fleur” is the first song performed in minor in this program. The composition was written by Bechet in 1950 in Paris and is finely laced by lightweight piano and melancholic saxophone.
  7. “The Way I Ride” is a 1945 fun, nonchalant, somewhat lazily paced composition by Wooden Joe Nicholas, another Louisiana-native.
  8. “Sweet Louisiana” is a slow-paced but vibrant rendition of a 1945 composition by Bechet.

Musical Interpretation

What stood out to me about the program chosen by Marsalis and the ensemble was that the first half of it consisted of the compositions written in the 1920s, whereas the second half included songs from the 1940-1950 decade. In the history of jazz, these two decades bore a lot of significance and were marked by many prominent events and figures. The 1920s were the Jazz Age, and many classic jazz songs originate from that era.

It appears to me that in the first half of the concert, Marsalis and the ensemble adhered to the original way of performing, seeking to convey the critical characteristics of the epoch. The 1940s, on the other hand, broadened the audience of jazz, and musicians dared to experiment more than ever. In alignment with that tendency, Marsalis and the ensemble were more frivolous with rhythmic alterations and dissonance. Overall, the musicians played in tune and communicated the music as it was intended but with unexpected details.

Highlights of the Show and Final Impressions

All in all, the show by Marsalis at Jazz in Marciac was a captivating experience. Even though the entire performance was excellent, I deem it essential to point out a couple of the most enjoyable moments. In the second half of “Sweet Louisiana,” Gordon sets in with a temperamental solo on a trombone which strikes a listener with incredible versatility as it goes from breathy to almost guttural in its sound. Another highlight was “Petit Fleur” since the appearance of a song in minor was surprising given the lighthearted nature of other compositions. Its moody piano melody was akin to a breath of fresh air. I am convinced that jazz can attract listeners of all ages, genders, and walks of life, and I would encourage my family and friends to get familiar with Marsalis’ artistry.

Works Cited

“Biography.” Wynton, n.d. Web.

Terefenko, Dariusz. Jazz Theory: From Basic to Advanced Study. Routledge, 2014.

Wynton Marsalis – Jazz in Marciac 2009.YouTube, uploaded by Pavel Levin, 2012. Web.

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