The beauty of art really is in the eye of the beholder. Art is a diverse as the people who create it. Some of the most famous art comes from some of the least expected places and people but, their journey is what seems to make it incredible. From the suburbs of Long Island, New York to Haight-Ashbury, San Francisco during the Hippie movement in the 1960’s brought about one of the most influential, internationally acclaimed artists, Eric Fischl. This paper will go through his dysfunctional upbringing, his art education and teaching, his many accomplishments and how he became one of the most famous figurative artists of the twentieth and twenty-first centuries.
Eric Fischl was born in 1948 in New York City. His own biography states “Fischl’s suburban upbringing provided him with a backdrop of alcoholism and a country club culture obsessed with image over content.”(Eric Fischl: Biography) In an interview with Fischl, when asked about his upbringing and he states “I grew up in an upper, middle class, American family in the suburbs of long island. My father was a salesman and went to the city every day. My mother was a housewife who had a severe drinking problem and so the family was in a dysfunctional state when I was growing up.”(Davis) Although he dropped out of high school and lived the hippie lifestyle for a while he eventually moved to Arizona and attended college in Phoenix. (Davis)
In 1972, Fischl went back to California to attend the California Institute for the Arts from which he earned a bachelor’s degree in fine arts. Two years later he ended up in Halifax, Nova Scotia teaching painting at the Nova Scotia College of Art and Design. After just a year, in 1975, he had his first show at Dalhousie Art Gallery. Three years la...
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Fischl, Eric. Bad Boy. 1981. Eric Fischl: Early Paintings. Eric Fischl Studios, 2010. Web. 23 Mar. 2012. .
Fischl, Eric. Krefeld Project: Bathroom Scene 2. 2003. Eric Fischl: Krefeld Project. Eric Fischl Studios, 2010. Web. 23 May 2012. .
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Louise Blouin Media. "In the Studio: Eric Fischl." Art+Auction 11 Jan.
George Schuyler’s article “The Negro Art Hokum” argues that the notion of African-American culture as separate from national American culture is nonsense. To Schuyler, all seemingly distinct elements of African-American culture and artistic endeavors from such are influenced by the dominant white American culture, and therefore, only American. The merit of Schuyler’s argument stems from the fact that it is practically impossible for one culture to exist within the confines of another without absorbing certain characteristics. The problem with Schuyler’s argument that Langston Hughes notes in his response article, “The Negro Artist and the Racial Mountain,” is that it assumes complete assimilation of African-Americans by a singular national culture. Fundamental to Hughes’ rebuttal is the allowance of a unique African-American culture extant of the standards of a singular American cultural identity. For Hughes, this unique culture lies within the working-class, out of sight of the American national culture. This culture, while neither completely African nor American, maintains the vibrant and unique roots of the African-American experience. Schuyler advocates cultural assimilation, while Hughes promotes cultural pluralism, in which minority cultures maintain their distinctive qualities in the face of a dominant national identity.
In his book, “Man’s Search for Meaning,” Viktor Frankl shares his perspective on the human mind. He uses his experiences in Nazi Concentration camps to discuss his ideas and share what he learned from his life as a prisoner in Nazi Germany. He uses particular events to show just how the human mind reacts to certain things, such death and fear. Frankl also introduces his theory of Logotherapy, which is his way of therapy. In his book, Frankl observed many things about the human mind and how it reacts to particular situations. He used his observation to teach us about his perspective on human psychology.
As artists began to gain recognition in the artistic world, they continually represented what it meant to be black in America. Personalities and individualism were displayed through their work while simultaneously portraying the political, social, and economic conditions of being black. This idea runs parallel with Mary Louise Pratt’s (1990) definition of a contact zone. She defines it as a "term to refer...
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Peter, S., 1996. The History of American Art Education. 7th ed. New York: Greenwood Publishing Group.
Efland, A. (1990). A history of art education: Intellectual and social currents in teaching the
Mark Rothko is recognized as one of the greatest artists of the twentieth century and during his lifetime was touted as a leading figure in postwar American painting. He is one of the outstanding figures of Abstract Expressionism and one of the creators of Color Field Painting. As a result of his contribution of great talent and the ability to deliver exceptional works on canvas one of his final projects, the Rothko Chapel offered to him by Houston philanthropists John and Dominique de Menil, would ultimately anchor his name in the art world and in history. Without any one of the three, the man, the work on canvas, or the dream, the Rothko Chapel would never have been able to exist for the conceptualization of the artist, the creations on canvas and the architectural dynamics are what make the Rothko Chapel a product of brilliance.
When looking into the passages from white and Cherokee resources you can see a recurring theme of prejudice with the white sources. In Andrew Jackson’s annual message he states “It has been policy of Government to introduce among them the arts of civilization, in the hope of gradually reclaiming them from a wandering life” (Wheeler 187). ...
Spears, Shandra. "Re-Constructing the Colonizer: Self-representation by First Nations Artists ." ATLANTIS 29.2 (2005): 1 - 18 . Print.
Gardner, Helen, and Fred S. Kleiner. Gardner's Art Through the Ages: The Western Perspective. N.p., 2014. Print.
Art is a very important part of humanity’s history, and it can be found anywhere from the walls of caves to the halls of museums. The artists that created these works of art were influenced by a multitude of factors including personal issues, politics, and other art movements. Frida Kahlo and Vincent van Gogh, two wildly popular artists, have left behind artwork, that to this day, influences and fascinates people around the world. Their painting styles and personal lives are vastly different, but both artists managed to capture the emotions that they were feeling and used them to create artwork.
Artists associated with the Black Arts Movement promoted the notion that art should serve the needs of the African American community, while challenging white hegemony and the oppression of African Americans (Wofford). Despite having similar, yet thoughtful views on black supremacy, much like that of authors from the New Negro Movement, the “Black Power Concept” of the Black Arts Movement had ...
Ibsen, Henrik. The Project Gutenberg EBook of a Doll's House. [EBook #2542]. The Project Gutenberg, 13 Dec. 2008. Web. 14 Mar. 2011. .
...reet Art, Ideology, and Public Space.” NYUClasses, Portland State University. 2012. PDF file. 6 May 2014