| Papers [571-589] of 1926 :: [Page 31 of 102] | | Go to page : <— 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 —> | |
|
|
Public Art, 2002.
Shows how the definition of public art has evolved since the dawn of humankind.
2,184 words (approx. 8.7 pages), 3 sources, MLA, $ 68.95
»
Click here to show/hide summary
Abstract
As long as there has been art there has been public art. But this does not mean that public art has always meant the same thing to the people who made it or the community that it was made for. This paper examines four moments in history and four specific artworks as a way of examining how the function of art in public places has changed, as well as the ways in which it has not changed, over the centuries. This paper begins at a moment long before many people would place the beginnings of public art ? with the Paleolithic drawings on the walls in French caves and ends with the works of Maya Lin. As each moment in time presents a different form of public art, no single, overriding definition of the term is offered here. Rather, each moment in history and each example of art requires its own definition of public art.
From the Paper
"Some nineteenth-century scholars argued that the cave paintings should be seen as attempts to influence reality, that the images painted on cave walls (and this would perhaps have been especially true of the portrayals of animals) had a totemistic value. In other words, people painted animals to help hunters have better luck in the hunt, either in terms of capturing prey or in terms of surviving the hunt without injury. In a similar vein, other important types of Paleolithic that seem to celebrate female fertility, such as the Venus of Wallendorf, might have been used as totems that would help to ensure the continuing existence of the tribe itself."
| |
|
Renaissance Sculpture, 2002.
Compares the "Davids" by Donatello and Michelangelo to show how both pieces epitomize their periods and styles.
1,722 words (approx. 6.9 pages), 4 sources, MLA, $ 55.95
»
Click here to show/hide summary
Abstract
The division of Renaissance art into three distinct periods began with Giorgio Vasari, the great Florentine art historian and chronicler of the lives of the artists. Vasari concluded, based on his universally accepted perception of Michelangelo as ?Il Divino,? that Renaissance art reached its most sublime expression in the works of Michelangelo and Leonardo da Vinci. However, some modern art historians wonder how valid or valuable this categorization and consequential value judgment is. Roberta J. M. Olson challenges the very existence of a ?High Renaissance,? on the grounds that ?the term is artificial, a qualitative judgment of ?High? signifying the best,? The paper shows that there are surely noticeable differences in the vivid expressions of Italian Renaissance art from the fifteenth to the sixteenth centuries. Art from the early period of the Renaissance sprouted from the preceding medieval and Gothic artistic traditions, with their emphasis on dramatic facial expressions and compositions. This is especially evident in the sculptural arts, those three-dimensional figures that rendered the human form with increasing idealism. The paper shows that this trend toward idealistic renditions of the human face and figure directly derived from a revived interest in the Classical arts of ancient Greece and Rome. In fact, Renaissance art in general is defined by its classical motifs, materials, and mannerisms. Donatello signified this coming together of two artistic and philosophical traditions in the early periods of the Renaissance in Florence. A century later, Michelangelo Buonarotti built upon Donatello?s earlier contributions to Italian art and sculpture in particular. The paper explains that although the works of Michelangelo defy categorization, his is generally considered to be ?instrumental in creating the High Renaissance,? and is heralded as that period?s hallmark of all the works available for research by art historians, the two that most epitomize their periods and styles and which are most easily comparable because of their similar subject matter are Donatello?s and Michelangelo?s statues of David. This paper therefore examines and discusses these two pieces and show how they characterize the time periods they represent.
From the Paper
"Moreover, Donatello?s David signifies the budding Renaissance style because it incorporates distinctive classical elements. These elements would later mature in the corresponding David by Michelangelo. Nevertheless, while Donatello preserved Biblical accuracy in his rendition of David slaying Goliath, he also paid tribute to the sculpture of ancient Greece and Rome. His David, in fact, is almost Mercurial with its pagan-influenced hat and its adorning wreath. Here, Christianity and paganism coexist in one statue. Michelangelo?s later version had none of this; in fact, Michelangelo did away with the image of Goliath altogether to focus solely on the stature of the hero?as if he perceived David as more of an ancient athlete than a Christian warrior. Similarly, Michelangelo underemphasized the actual struggle between David and Goliath: instead of a sword placed valiantly in the foreground as it is in Donatello?s, Michelangelo?s David sports a barely noticeable sling."
| |
|
Martha Rosler, 2002.
A discussion of the photographic work of Martha Rosler.
1,540 words (approx. 6.2 pages), 2 sources, MLA, $ 50.95
»
Click here to show/hide summary
Abstract
This paper looks at how United States artist Martha Rosler has worked to provide a cataloged version of the spaces and moods of 20th century hearts and minds. It discusses how she worked through her travels with a camera and shot things that she believed were representative of heart of America and how the pictures tell stories that branch off into ideas of their own with the light and the images that are portrayed in them.
From the Paper
"The examination of her photographic work pertaining to the illustration of the 20th century must include a look at several pieces which use light and shadow to make their point. In addition it is important to discuss her use of accepted art forms, such as nudity. While nudity has always been an accepted art form in the world of painting and sculpture it is only in the 20th century that its use in photographs has come to be considered artistic expression as well. Many of the photos Rosler took in her years with a camera provide the patron with a story of modern times through the techniques used as much as the object or subject itself."
| |
|
Vincent Van Gogh, 2002.
A biography of the life and career of the painter Vincent Van Gogh.
2,810 words (approx. 11.2 pages), 5 sources, MLA, $ 83.95
»
Click here to show/hide summary
Abstract
This paper examines how through a ten year period the work of Van Gogh ranged in style and meaning and how many of the changes he experienced were founded in the fact that he spent time with other artists. It provides a outline of his life and analyzes some of the life experiences and influences that affected his work. It discusses the different types of his work which ranged from self portraits and portraits to irises and vineyards.
From the Paper
"Vincent Van Gogh has frequently been referred to as the greatest Dutch painter since the time and work of Rembrandt. One of the most remembered accomplishments of Van Gogh in the world of art is his powerful and long lasting contribution to the changes in the genre of Expressionism. He influenced that genre not only with his works and statements within those works but also with the changes that his work underwent as the genre adapted to those changes. He is single-handedly noted for affecting the genre and influencing changes.
One of the most unusual facts about Van Gogh is the span of his works. Most artists that sustain historic recognition spend their entire life producing the works that become classics. Van Gogh produced all of the works the world admires in a short ten year span of life."
| |
|
Prehistoric Cave Art, 2002.
An insight into prehistoric cave art.
1,154 words (approx. 4.6 pages), 9 sources, MLA, $ 39.95
»
Click here to show/hide summary
Abstract
This paper examines how prehistoric cave art is considered to be man?s original form of art, although its date of origin is still unknown. It looks at how, with examples, the art displays the effects of the cultures and surroundings that created them. It discusses how the cave art found in Europe and Africa depicts the prehistoric conception of animals, humans, symbols and weapons and how there are many differences and commonalities between the art found in both areas.
From the Paper
"The cave paintings in Linton are considered to be only 11,000 years old, as opposed to Apollo 11. The cave shelter located in Linton on the Eastern Cape of Africa contains a painting of that illustrates the experiences of healers or shaman, calling on supernatural powers. Human figures are clearly defined. The shaman has hooves, as if taking on the shape of an animal in order to connect to the spiritual world. White dots are used to represent spiritual power. Strange features are also assigned to other animals and humans present during the trance in the painting, using white dashes. Animals in the painting appear to have mismatched body parts, such as a snake with an antelope head."
| |
|
Sculptures, 2002.
An art appreciation paper about two sculptures - Brancusi?s "Golden Bird" and the 8th century statue of a "Bodhisattva".
2,158 words (approx. 8.6 pages), 5 sources, MLA, $ 67.95
»
Click here to show/hide summary
Abstract
This paper discusses the two works of art - both of which are on display at the Chicago Institute of Art - as examples of sculpture although their creation is separated by 13 centuries. It looks at their differences and their similarities. The paper includes a picture of each sculpture as well as essential facts.
From the Paper
"Indeed, it is the differences in these two works that are more glaring than their similarities. The bodhisattva is a religious icon. It has extremely practical uses in Buddhist worship. It also acted as a sort of moral compass for its viewers; bodhisattvas were beings who had almost achieved enlightenment and could have attained nirvana, but their feelings of charity have caused them to stay in the world and attempt to help others achieve Nirvana. As a result, the bodhisattva provides an image of what a charitable being looks like. In this sense, the bodhisattva, although a beautiful work, has a moral and religious dimension that is as primary as its aesthetic appeal. Also, the statue was created according to strict rules of tradition, with little room for individual innovation. Brancusi?s statue on the other hand is a nonrepresentational form created according to no traditional template. Brancusi claimed that his material was the major guiding force in his work. He believed that the forms presented themselves from out of the material itself. Thus, although the two artifacts are both examples of sculpture, the bodhisattva is a devotional piece that has major religious and ethical implications, whereas Brancusi?s Golden Bird is a self-sufficient meditation on form that attempts to reveal its own essential nature by the free play of its forms."
| |
|
Van Gogh's Vision, 2002.
An analysis of the manner in which Van Gogh viewed the world, as can be seen in his paintings.
2,857 words (approx. 11.4 pages), 8 sources, APA, $ 84.95
»
Click here to show/hide summary
Abstract
This paper examines Van Gogh?s unique vision of the world, a vision that he portrayed in rich but unusual colors and swirling brushstrokes. It explains that it is extremely idiosyncratic and it is this vision that is most notable to viewers of his works. By viewing paintings from his period in Belgium, his time in Paris, and his time in Arles, this paper looks at how this unique vision of the world pervaded his works even as his technique developed.
From the Paper
"Vincent Van Gogh was born in 1853 to Theodorus van Gogh and Anna Cornelia Carbentus. He was born in the town of Zundert, which was in the south of the Netherlands, and his father worked as a preacher. In 1869, he began his association with the world of professional art working at an art dealer?s firm as well as several other small jobs. After carrying on in this occupation, he began to follow his father?s footsteps in studying religious studies in preparation for the vocation of preacher. In 1878, while beginning his study of religion, Van Gogh moved to a mining town in Belgium called Borinage. It is while here that Van Gogh discovered that it was his second vocation that would become his true passion: he found the calling to become an artist. His early work was largely influenced by two artists that he greatly admired, Jean Fran?ois Millet and Honor? Daumier, and in following their example his early work tended to use dark colors extensively. He moved around throughout the Netherlands and Brussels before his art career eventually reached a second stage when he moved to Paris."
| |
|
20th Century Art, 2002.
Examines how female artists flourished in the twentieth century.
3,455 words (approx. 13.8 pages), 11 sources, MLA, $ 97.95
»
Click here to show/hide summary
Abstract
Between the years of 1912 and 1914 the entire temper of the American arts changed. America's cultural coming-of-age occurred and writing in the U.S. moved from a period entitled traditional to modernist. These changes engaged an America of rising intellectual opportunities and intensifying artistic preoccupation. With the changes came opportunity for male and female artists. And although female leadership in most careers was scorned by the modernizing society, artists Georgia O?Keeffe, Gwen John and Suzanne Valadon demonstrated that opportunity was blind to gender and opened its door to all who would knock. This paper examines the lives and careers of these three artists and examines some of their artwork. The paper also includes colored copies of the works discussed.
From the Paper
"After the war, although the experience cast a dark shadow on the optimistic American evaluation of the world, America pulled herself out of the trenches of Germany and France, and decided it had come of age. America, the fledgling democracy which was just over a hundred years in age, entered the war and turned the tide of aggression that all of Europe could not contain. With this new courage, and a national sentiment that valued the traditions of its past, America went looking for herself, and found her portrait painted by the words of the modernist poet, and on the canvases of abstract painters."
| |
|
"The Judgment of Paris", 2002.
A review of "The Judgment of Paris" by Lucas Cranach the Elder.
1,011 words (approx. 4.0 pages), 2 sources, MLA, $ 35.95
»
Click here to show/hide summary
Abstract
This paper offers a discussion and analysis of the artwork entitled "The Judgment of Paris," by Lucas Cranach the Elder. Specifically, the paper describes the subject of the work and analyzes it with regard to its expressive content. The paper attempts to answer the following questions: What statement do you think the artist wanted to make? What techniques did the artist use to make this statement? "The Judgment of Paris" depicts a famous mythological scene with great attention to detail and reality.
From the Paper
"Lucas Cranach the Elder was a German painter who lived from 1472 to 1553, and painted in the Northern Renaissance style. This painting, "The Judgment of Paris," is tempera and oil on wood, which measures 401/2 x 28 and Cranach painted it sometime around 1528. Cranach enjoyed painting in a natural style, blending his figures with the surrounding landscape, and this painting is a good example of his technique (Editors). The landscape behind the figures is quite detailed. It even includes a medieval castle on the edge of a towering cliff, along with a medieval town set off in the distance in the valley, with a ship floating serenely in the town's harbor."
| |
|
Art Education, 2002.
The paper analyzes the theories of educators and child psychologists surrounding the integration of art education into other aspects of learning in schools.
5,866 words (approx. 23.5 pages), 12 sources, MLA, $ 140.95
»
Click here to show/hide summary
Abstract
The paper examines the ideas and scholarly work of Elliot Eisner who does not favor a technocratic approach to teaching, as well as exploring Howard Gardner's comprehensive perspectives on the interplay between art and child development. The paper also looks at several examples of real-life scenarios in various schools to emphasize the different educational philosophies being implemented.
From the Paper
"In Art, Mind, and Brain: A Cognitive Approach to Creativity, one of Gardner?s earlier works, he illustrates some of the dangers of moving away from a creative element to education. A child?s early years he characterizes as a golden age of creativity, which he claims is later hampered as the child is beset by the social pressures of peers his or her age. Whereas a six year old child is employing various symbols and designs to convey meaning, a nine or ten year old child is often much more conventional; Gardner claims that the pressure for children to conform, even when they are playing, limits their ability to experiment and grow from experimentation or novelty. Some stop drawing and artistry languishes during this ?literal stage? when many see the playful exploration previously enjoyed as being behind them and unbecoming of them."
| |
|
Which Painting to Choose: Corot or Morisot?, 2002.
This paper is an essay by a "curator" who must choose between buying ?First Leaves, Near Mantes? by Jean Baptiste Camille Corot or ?View of Paris from the Trocadero? by Berthe Marie Paul Morisot.
1,670 words (approx. 6.7 pages), 0 sources, $ 54.95
»
Click here to show/hide summary
Abstract
This paper describes the thought process necessary when buying a painting for a museum: ?First Leaves, Near Mantes?by Jean Baptiste Camille Corot or ?View of Paris from the Trocadero? by Berthe Marie Paul Morisot. The author points out that when buying a painting for a public collection, artistic merits, representation of an important moment in art, a step toward the next discovery, subject matter, painting techniques and what the painting represents both literally and figuratively to the buyer are important.The author, after discussing all these elements, selects the Corot: Corot paints the trees with such strong strokes that it takes but a tiny squint test to see that what he has done in composition alone, and this is prefigure to the abstractions of the century to follow.
From the Paper
"In fact, the Impressionists followed him just about the time Morisot painted Trocadero. She was, in fact, an Impressionist, even if she lacked the notoriety of her brother-in-law, Edouard Manet. (She married his brother Eugene.) Morisot had studied with Corot when she tired of the classical approach to painting. But yet, her subject matter is more like the subject matter of classical paintings than is Corot?s.
Morisot has chosen ordinary people, although in a more formal setting than Corot?s setting in the glade. Conceivably, from their dress and the fact that the city of Paris and all its cultural attractions is prominently displayed in the painting, these people are less ordinary?more noble?than those in the Corot work. That puts it a step closer to classical painting."
| |
|
Japanese Art and Music, 2002.
An examination of the roots and influences of Japanese art and music.
1,326 words (approx. 5.3 pages), 4 sources, MLA, $ 44.95
»
Click here to show/hide summary
Abstract
This paper discusses how Japanese art is an impressive entity complete in itself with a unique identity of its own. It looks at how the field doesn?t primarily focus on paintings or prints and how instead everything, from sculpture to temple carvings occupy an important place in Japanese art. It analyzes its history of art by looking at different cultural influences. It also examines how Japanese music today is a rich amalgam of western and eastern traditions and how no matter how westernized the music becomes, the Japanese music industry cannot fully abandon the influence of eastern musical techniques because of its long and very vibrant history.
From the Paper
"Japanese music can technically be arranged into two broad categories: western and traditional composed in major and minor pentatonic scales. While there are various technical differences in western music of Japan and that of the rest of the world, still these are two categories that presently prevail in modern Japan. It is easier for the youth to identify with western style of music however Japan boasts of a long series of famous traditional singers who left an indelible mark the global music scene. One such singer was Misora Hibari who was born in 1937. The music scene in Japan is not only alive, it is constantly changing and adapting to the modern world around. This is probably the best way Japan can connect with the western societies and emerge out of the shackles of its restrictive traditions."
| |
|
Edgar Degas, 2002.
This paper discusses Edgar Degas, an impressionist artist whose artwork revealed a concern for the psychology of movement, expression, harmony of line and continuity of curves that distinguished him from all the other impressionist painters.
855 words (approx. 3.4 pages), 5 sources, MLA, $ 30.95
»
Click here to show/hide summary
Abstract
This paper explains that, although Deges was connected with the impressionists, he never was fascinated like others were by the influence of natural light and thus did most of his work inside his studio only. The paper continues that his paintings depicted ballet, horse racing, the theater and circuses, which gave the idea that his work stemmed from the humanistic experience. The author points out that Degas? favorite subjects were scenes from the world of entertainment, the daily life of women, ballet dancers, horse races and young ballerinas.
From the Paper
"Degas was captivated and influenced by a study of Japanese prints of which style appeared to be in his later work. He drew on the Japanese idea of asymmetrical design as an object to set the subject to the side of a painting. For example, one of his paintings made in 1865, depicted a Woman with Chrysanthemums (exhibited at Metropolitan Museum of Art, New York City) where the female subject is pushed into one side by a bouquet of flowers."
| |
|
Henri de Toulouse-Lautrec, 2002.
This paper discusses the life and work of Henri de Toulouse-Lautrec, lithographer, French post impressionist painter and illustrator.
870 words (approx. 3.5 pages), 5 sources, MLA, $ 30.95
»
Click here to show/hide summary
Abstract
This paper explains that Toulouse-Lautrec, despite his physical handicaps and later by alcoholism, managed to create his own instantly recognizable style and his unique way to invoke a world that was full of jollity and humor. The paper points out that Toulouse-Lautrec stands out in graphic art; even today, his lithographs and posters are still being copied. The author believes that, since Rembrandt, Lautrec was maybe the most unforgettable artistic character, a status acknowledged years earlier by novelists and the film industry.
From the Paper
"Moreover, he was amazingly open to the unorthodox kinds of commission that his graphic success won him. He illustrated songs for music publishers, art exhibitions, theatre programs, confetti, menus for friends, designing posters for books, journals, plays, caf? and theatre stars, ordinary products as domestic furnishings, printing ink and bicycle chains. All these posters were effectively a form of anti academic propaganda. Thus, by taking this work to the street, he was involved in a delicate but classic form of revolution that turned out to be more real than the exhibitions and salons of the avant-garde ever were."
| |
|
The Renaissance Era, 2002.
An examination of the world of the artist in the Renaissance era.
1,375 words (approx. 5.5 pages), 2 sources, MLA, $ 45.95
»
Click here to show/hide summary
Abstract
This paper discusses how between the years 1495 and 1538, following the Byzantine/Gothic periods, a powerful new vitality was stirring amongst the great thinkers and artists which eventually brought about significant and beneficial change in the world of art known as the Renaissance era. It looks at how during the advent of this era, the artist began to view the world around him quite differently and saw that it could be utilized to express true artistic observations. It shows how in the early years of the sixteenth century, this artistic viewpoint became more than a direction, for it blossomed into a theory and a doctrine. It analyzes how the basic premise of the Renaissance era in relation to art stressed the importance of personal experience, the artist's right to know by experimentation, the futility of formal philosophies so prevalent in the preceding eras and the beauty and value of things in the external world.
From the Paper
"Within a thirty year span, beginning approximately in 1495, the city of Rome replaced Florence as the Italian seat of artistic pre-eminence. A series of powerful and ambitious popes, most notably Julius II and those associated with the family Medici, created a new papal state with Rome as its capitol and artistic center of Europe. These popes embellished Rome with great works of art and invited artists from all over Italy to take on some very challenging tasks. In its duration, the "High Renaissance" saw works of such authority and magnitude produced that later generations of artists were virtually instructed in how to represent the natural world in painting and sculpture. The various "masters" of this period had of course inherited the pictorial science of their predecessors, yet they made a distinct break from the past and occupied new and lofty ground that had never been explored before."
| |
|
Orientalism in Western Art and Music, 2002.
This paper discusses the use of orientalism, the influence of the culture of the Middle and Far East, on Western art and music.
1,650 words (approx. 6.6 pages), 7 sources, MLA, $ 53.95
»
Click here to show/hide summary
Abstract
This paper stresses that, even though Western artists are looking for new ideas when they seek Oriental input, they can only interrupt the Orient through their own Western culture. The author explains that French painter Eugene Delacroix' ?Death of Sardanapalus? and Austrian artist Leopold Carl Muller?s ?The Market in Cairo? are examples of orientalism in Western art. The author states that the Beatles, seeking the teachings of India?s gurus, brought orientalism into modern pop culture.
From the Paper
"The Western World that Delacroix knew lay on the brink of the Victorian age. Painted in 1827, the Death of Sardanapalus speaks to a people already grown accustomed to the strictures of middle-class morality. As older and wilder days ended, North Americans and Europeans were already entering into a new era of strong religious devotion, clean living, and sexual repression. The wanton abandoning of oneself to pleasure like Sardanapalus seemed to be something that was still possible only within the hidden corridors of the seraglio, a place where leering, bearded despots sought freely to satisfy their carnal lusts. The fact that Sardanapalus?s world is about to be consumed in fire is but a fitting moral judgment. Though he can gape at the writhing, sensuous forms of the King?s doomed attendants, the European or North American man can only dream of what he cannot have ? the pleasures of the flesh are condemned hellfire."
| |
|
Primitivism and Modernism in Diego Rivera, 2002.
An analysis of the life and works of artist Diego Rivera.
1,953 words (approx. 7.8 pages), 8 sources, MLA, $ 62.95
»
Click here to show/hide summary
Abstract
This paper explains why Diego Rivera holds a unique and intriguing position within the history of art. It shows that because his nationality and his education, his cultural inheritance and his intellectual development, these place him on a perch between two widely differing paradigms of aesthetics and representation. The paper focuses on Diego Rivera?s 1917 composition, "Still Life with Bread and Fruit".
From the Paper
"Rivera?s background and professional artistic training certainly place him in a Western European tradition that stretches from the Renaissance through the period of high modernism. Rivera came of age at a time when modernism itself was in full swing, and it certainly exacted a profound and direct influence on his work. In his early life, Rivera attended a painting school in Spain, traveled significantly throughout Europe, and briefly lived in Paris, where ?he was influenced by post-impressionism, mainly by Paul C?zanne?s art? (?Diego Rivera (1886?1957)?). Indeed, his palette was deeply affected by modernist works of the day, and he heavily employed many modernist techniques and methods during this apprenticeship period as he continued to develop his own style. Before he ultimately returned to Mexico, he even went to Italy to study renaissance painting more formally. His work during this period reflects representative modernist trends and ?shows study and analysis of neoimpressionism, C?zannism, Fauvism and Cubism? (?Biography: Diego Rivera?). While most people are most familiar with Diego Rivera?s mature corpus of works in which he experimented with mural forms that depicted scenes of Mexican peasantry and other traditional scenes, his early work is much more in the European modernist tradition of post-impressionism and cubism. We will briefly examine one such representative work."
| |
|
The Telescreen and Camera Lucida, 2002.
This paper compares the telescreen from George Orwell's book ?Nineteen Eighty-Four? and the camera lucida, a primitive camera, from Roland Barthes? book ?Camera Lucida?.
770 words (approx. 3.1 pages), 2 sources, MLA, $ 27.95
»
Click here to show/hide summary
Abstract
This paper explains that the true nature of observation, whether through the lens of a camera or the "All Seeing Eye" of a telescreen, depends on the viewpoint of the voyeur, a situation that clearly plays a major role in both ?Nineteen Eighty-Four? and ?Camera Lucida?. The paper points out that Barthes' camera lucida as a mechanical device also projects an image onto a flat surface, much like Orwell's electrical telescreens that project images through a monitor. The author feels that the telescreen and photography eliminate time and distance through its immediacy and "in-your-face" projections, just as, today, a video camera or internet "webcam" perform the same function.
From the Paper
"For Barthes, photographs were triggers that brought out the inner light of thinking and interpretation. In his book, he discusses the intense debate about images, particularly those related to photography, and their role in the development of cultural theory and history. This is quite similar to Orwell's use of images on his telescreens which projected
not only the images associated with "Big Brother" but also those of the culture of Oceania and the government's efforts to supervise all the activities of its citizens. In Camera Lucida, Barthes offers the suggestion that photographs contain an "aura" which reflects lost memories. He mentions that while studying a photo of his mother as a young child, "standing a little back (and) facing the camera," he accidentally discovered the true essence of his long-dead mother. This photograph, as he put it, was a telescope that brought distance and time into reality while also doing the same for his mother."
| |
|
Artist Jenny Holzer, 2002.
This paper discusses the work of Jenny Holzer and conceptual art, which includes textual comments on life.
1,335 words (approx. 5.3 pages), 12 sources, MLA, $ 44.95
»
Click here to show/hide summary
Abstract
This paper uses the example of Jenny Holzer?s work ?Truisms? ( NYC Guggenheim Museum) to illustrate her conceptual art. (Illustration included.) The author points out that Holzer?s "Truisms" came about because of her despair of the present-day world where there is little dialogue about people?s widely varying beliefs. The paper states that Holzer?s art distinguishes two strong characteristics of the late 1970 and 1980 artists: The manipulation of gallery and museum spaces as communal locations of the dissemination of political and social commentary and the spread of activist art collections in New York.
From the Paper
"New artistic movements arose during the 1960s and ?70s to challenge and displace modernism in painting, sculpture and other media. By the late 1970s, artists were using conversations, discussions and theoretical texts as the basis for their creative products. One of these styles was conceptualism. Deliberately formed as an approach that no aesthetic formalism could ever embrace, it placed art beyond all limitations and definitions to break the stringent constraints of the previous art history and criticism. Attention was turned toward producing and the manipulation of materials. The result or the final object became secondary and often temporary. The rise of conceptualism corresponded to artistic trends taking place in various parts of the world, as social and political upheaval prompted artists to re-examine traditional forms of representation and question art?s social utility. Much of the art in exhibitions was made to provoke the viewer by disturbing previously accepted ideas about social, political and cultural systems."
|
|
|