Within the Chapman’s portfolio violence, abjection and fetishism combine to form an aesthetic immersed in taboo. Their abrasive imagery is deviously employed as a constructive means to overwhelm the viewer’s emotions while provoking a sense of shared existence. In spotlighting the communal fascination with grotesque subject matter, a deeper inspection of the mind occurs, thus showing an intuitive take on transgression. A deviant act, however small it may be, entices an individual to step outside the strict parameters of manufactured law, causing a euphoric feeling to resonate from within. At the same time this act creates an appalling sensation due to prescribed morality. This paradoxical effect stems from the very nature of prohibition, which denotes that its very existence cannot be conceived without an initial violation. The Chapman brothers feverishly explore the characteristics of humanistic defilement and apply their observations with complimentary media. While parasitically drawing from Goya’s lineage, Jake and Dinos create etchings and sculptures that also relate to Hans Belmar and Duane Hanson. These iconic predecessors are deployed as defensive structures, firmly established in antiquity, that lend aesthetics and concept to a shocking take on the human condition.
A clear and decisive canonic defense can be made between the themes of Francisco de Goya and Jake and Dinos Chapman. Their cemented relationship is naively based in shocking, nihilistic imagery that reflects the timeless atrocities of war. The intent of Goya’s Hazana con Muertos series utilizes refined chiaroscuro and a depth of symbolic icons to communicate the gruesome treatment of his people. Intentionally using printmaking as a tool for mass production d...
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... socially relevant. Then the brothers assume the grotesque aesthetic of transgression through their organism’s semblance to Bellmer’s mannequin. In the same breath they use this tool to acquire recognition and eventually show disinterest in any utilitarian purpose it may have served. The quality of craftsmanship, abject subject matter and immense detail they display in certain tableaus can only be compared to Hanson’s realist sculptures. An obvious parasitic tendency is evident throughout the brothers entire portfolio. Mockery and allusion follow this tendency, and add to its sarcastic potency. Their vast understanding of art history compliments every fabricated reference and allows for a wonderful ability to create obscenities. No matter what the Chapman team creates next it will definitely shock the public and cause the art world to lapse, for at least a moment.
“Anorexia: The Cheating Disorder” by Richard Murphy discusses two instances the author was suspicious of students plagiarizing their work, as well as the damage plagiarism can cause to everyone involved. Murphy was an associate English professor at Radford University (898) and has experienced many attempts at plagiarism, describing it as “a thin wood splinter in the edge of one’s thumb” (899). That feeling is irritating and can’t be ignored until it is removed, so the author is obsessive about discovering the sources of plagiarism. While his thesis that when plagiarism occurs there is a disconnect in the relationship between student and professor is true, his incessant drive to unearth the truth at the expense of understanding every case individually is concerning.
Power relationships are represented in different ways in various texts dependent on the historical era from which the text is produced. Jasper Jones is a coming-of-age novel written by Australian writer, Craig Silvey in 2009. It follows the life of Charlie Bucktin, a thirteen year old resident of Corrigan, a rural mining town in Western Australia as he matures into adulthood. In order to protect Jasper Jones, the town’s ‘troublemaker’, he helps Jasper to dispose the dead body of Laura Wishart, the missing daughter of the shire president and struggles to keep this dreadful secret. Power relationships in this novel have been reflected, reinforced and challenged in their own context and my personal context through various narrative conventions. Racial power has been reflected in the text through the context in which the text is set. Sexual power has been reinforced in the contemporary context. Furthermore, in both the text’s context and my context, the idea of political power has been challenged.
...nearly always wore the guise of ugliness, that a certain element of artificiality seemed to him necessary in beauty”(Pg. 7). With this in mind, Paul’s actions seem deliberate, as if he knew what he was doing all along, again supporting the theory that he was simply wallowing in misery, crying for help.
In my examination of the works, I came across a particular sculpture that portrayed both beauty and craftsmanship. A 15th century sculpture (1490), made in Venice, Italy by Tullio Lombardo, shows a life-size figure of Adam. Titled Adam, the work is the most prominent in the gallery mostly because of its 6-foot standing. It immediately caught my attention and gave me a very realistic impression. One beige color and made of marble, Adam is depicted simply, yet the statue has intense emotions. His meaningful glance is seen in the upward and tilted head position. Adam has almost lifeless looking eyes and seems to be staring into the distance. With these sagging eyes, parted lips, and lacking posture I feel Adam’s guilt is displayed in this figure.
	"It mattered that education was changing me. It never ceased to matter. My brother and sisters would giggle at our mother’s mispronounced words. They’d correct her gently. My mother laughed girlishly one night, trying not to pronounce sheep as ship. From a distance I listened sullenly. From that distance, pretending not to notice on another occasion, I saw my father looking at the title pages of my library books. That was the scene on my mind when I walked home with a fourth-grade companion and heard him say that his parents read to him every night. (A strange sounding book-Winnie the Pooh.) Immediately, I wanted to know, what is it like?" My companion, however, thought I wanted to know about the plot of the book. Another day, my mother surprised me by asking for a "nice" book to read. "Something not too hard you think I might like." Carefully I chose one, Willa Cather’s My ‘Antonia. But when, several weeks later, I happened to see it next to her bed unread except for the first few pages, I was furious and suddenly wanted to cry. I grabbed up the book and took it back to my room and placed it in its place, alphabetically on my shelf." (p.626-627)
...something, or is made or driven to do something, he speaks of the Id" (Palmer 228). What Peters is saying is that Freud cannot make up his mind. Freud tries to do ego and id at the same time when it does not work. Peters believes that only one or the other can explain something at one time. A person cannot be driven by animal instinct (id) and conscious thought (ego). Peters makes a very valid point in this aspect.
Jealousy. Jealousy can make us become things that we do not wish to be, and we can become those things without us even knowing it. And is it even worth it? Jealousy is definitely at its highest point when it comes to love. If you see the person who you are in love with and they are with someone else, that is the worst feeling to have. Jealousy like no other will take over you. Examples of jealousy are found throughout the book In the Book Jake, Reinvented, there are a lot of cases of jealousy between people and their relationships, jealousy of wanting to have someone else’s popularity, material possessions or just having a girl. The jealousy in this book is very evident and I’ll show you the examples.
As mythology has always piqued my interest, Roman and Greek mainly, it is only natural that Saturn Devouring His Son by Francisco Goya stopped me from turning the page. This piece has been burned in my head since I was a junior in high school. The painting doesn’t have a lot of color, light, patterns, or textures but it draws you in instantly. It is a horrific image to look at, but the same time you can’t look away at this man savagely eating another human. As gross at this painting may be I believe it holds some strong messages.
Graeme Base says that much of what he uses in his illustrations is a result of his childhood.
All of us pass through adolescence before reaching adulthood. It is a crucial stage in everyone’s life that plays a big role in the adult life. “The Jacket” is a representation of Gary Soto’s adolescent life. It is a short story depicting his hardships as an adolescent as he battled with peer pressure and low self-esteem or lack of confidence caused by the ugly green jacket. The jacket serves as a symbol of his personal battles, growth, maturity, and his readiness to face the cold and harsh challenges in his life.
Patriarchal formations of familial angst and romance included, Vice City has been received again and again in the several orifices of the public body. Each time new techniques, purposes, and functions may be discovered in the rubble evidencing the occurrence, but the repeated encounter itself symptomatically mythologizes a special strain of the back, bearing out a stigmata proving again and again the omnipresence of Vice City in the spaces of media outlets, and thus collection and reflection. Back pain in the very dens and living rooms of America! The back is just the end of the issue, where it starts is in the hands, a twitching organism tied by lines of fluid, flesh, force, and faith to the human configuration. If what is violent in the game is the mode of interaction by which the protagonist’s narrative transgressions can be rendered progeny of a sick mind (akin to the Japanese Otaku), the hand is a thing of the psychological measurement of the central nervous system and the behavior of the favorite allopathic object. Gameplay is feedback, hand to computer to display to eye, and, like any such idealized circuitry, crossover is categorically denied. Honestly, hands are not their own and not even ‘yours’ in any romantic sense, but yours-insofar-as-you-are-humanized, and thus schematized into matrices of humanist pluralism of the population. A population of its instances. Aside these detachments in analysis, Vice City offers an anarchic confusion with implications for media theory by a methodological engagement of gameplay.
...of Porn Or The Porn Of Art: A Look At Sex In Modern Art. Web. 12 Nov. 2013.
...s work The 3rd of May, 1808 is a very detailed and dramatic narrative within a collection of war themed works by the artist. I believe that by using the formal elements of color, texture, shape, lines, space, and the value I was able to sufficiently provide evidence that Goya offers a sequential order of direction for the audience to comprehend from their personal viewing. The twisted and grief stricken work creates a massive emotional connection and the artist plans for the viewers’ to grow and understand this message. The subject highlighted is obvious that Goya is passionate on his stance and outlook on war is suggested in the work. It’s obvious that Goya’s formal organization of his color palette, variation of brushes, repeating shapes, and play with lighting all correspond to depict man’s savage and at times monstrous actions are justified during war.
A society often reveals its own perversity in the way it treats those who stray too far away from its mainstream. In Jean McCord's story, "The Cave", the leader of a small-town gang beats up the narrator after he befriends a homeless man. In "The Hammer Man", two disgruntled policemen harass the narrator after she admires the basketball skills of a disturbed boy on her street. In both cases, the violence of the characters who represent mainstream society -- the gang and the police -- forces us to question our underlying assumptions about what is normal and what is not. While both authors invite us to label particular characters as deviant at the start of their stories, they force us to see by the end that there is no way to measure deviance in a society that is itself morally skewed. In an insane world, these stories remind us, the only sane people are crazy.
...self and others from the same condemnation. All fail in their choices and actions to face squarely the one insurmountable reality: Flesh ages, spirits flag, and human dreams wither. He thus accuses himself of having given up or given in ('"'I … had pretty plumage once'"' but now am '"'a comfortable kind of old scarecrow'"') and accuses nuns and mothers, as much as the Helens and Mauds of the world, of betraying the innocent, childlike spirit that fosters dreams and compels human choices.