In the late 1880s and 1890s, a trend of artists designing images for commercial use began generating public interest and criticism. Poster art, or designs produced by popular formerly ‘fine artists’ that advertised on streets instead of existing in galleries, emerged alongside the art nouveau movement. Suddenly, citizens and art enthusiasts alike began facing a dilemma: did this new poster art qualify as art? For many civilians, the answer to that question was no, and furthermore they concluded that producing such poster designs were a violation of artistic integrity. Aubrey Beardsley, an English artist already popular for non-commercial works, sought to defend his own poster art and justify art in advertising as a whole in a 1894 article entitled The Art of the Hoarding. Published in a popular newspaper, Beardsley's …show more content…
The informational, nearly academic tone that Beardsley assumes throughout The Art of the Hoarding strongly contrasts his other writings in his own publication (The Savoy) as well as letters to the editor of other publications. In the same year that The Art of the Hoarding was published, Beardsley wrote a letter to the editor of the Pall Mall Budget paper. The letter was addressing critics of his artwork (specifically the illustrations of The Yellow Book), and exemplified the sarcasm and provocative writing style that pervaded nearly all of his publications. Beardsley wrote “I must plead for space in your valuable paper to enlighten those who profess to find my picture unintelligible”, and the condescending connotation clearly comes through (Beardsley). The non-partial writing in The Art of the Hoarding features none of Beardsley’s usual wit or dark humor, especially seen in didactic passages such as “the public find[s] it hard to take
Gilman, Charlotte Perkins. "The Yellow Wall-paper." The Norton Anthology of American Literature. Eds. Nina Baym, et. al. Shorter 5th ed. New York, London: W.W. Norton & Company, 1999: 1656-1669.
Gilman, Charlotte. "The Yellow Wallpaper." Literature: An Introduction to Reading and Writing. Ed. Edgar Roberts and Robert Zweig. New York: Longman, 2011. 419-428.Print.
Art for Art's Sake: Its Fallacy and Viciousness. The Art World, Vol.2. May 1917. 98-102
"Why I Wrote 'The Yellow Wallpaper'?" Twentieth-Century Literary Criticism, edited by Thomas J. Schoenberg, vol. 201, Gale, 2008. Literature Resource Center, go.galegroup.com/ps/i.do?p=LitRC&sw=w&u=mill30389&v=2.1&id=GALE%7CH1420082945&it=r&asid=fa503d396619394dc49024ab2704723f. Accessed 30 Oct. 2017.
Fairey, an American Artist from South Carolina, graduated from Rhode Island School of Design in 1992. During his young adult years, Fairey “realized his desire and interest in the street art culture and graffiti movement” while he was working in a skate shop as a part-time job. As seen and described in his documentary, Obey Giant, Fairey’s first piece of work, the Andre Posse, was the sticker he used as an example to teach his friend about printmaking. This sticker once simplified and made into what today is known as the Obey logo. Fast forward to the presidential election of 2008, Fairey produces the Hope poster. The poster almost immediately turns into a global icon which is still recognized and even derived from today. This is the second art piece, to be discussed in this essay. Shepard Fairey’s Artwork, and Shepard Fairey’s influence on the world, each with their own various sub-topics such as the global iconography and impact within the means of copyright law. These pieces stress that from the smallest pieces within an artist’s portfolio to the largest can have a major impact on the world around us.
Goldwater, Robert and Marco Treves (eds.). Artists on Art: from the XIV to the XX Century. New York: Pantheon Books, 1945.
In The Looting Machine by Tom Burgis, the author discusses corruption and the effects of corruption on Africans living under the resource curse, or Dutch disease. He also talks about a system responsible for the looting of Africa’s natural resources to benefit individuals and companies from Chinese, French, American, Brazilian, British, Israeli, and African elites. Burgis suffered from PTSD, which stemmed from the aftermath of the Jos massacre and other events he experienced in Africa. To cope with his PTSD, Burgis wrote down what he saw during his research, experiencing tremendous guilt in the process. Instead of his initial reasoning that the Jos massacre occurred due to “ethnic rivalries”, he started to see the real reason and how the massacre
"Photographing a cake can be art," Irving Penn said when he opened his studio in 1953. Before long he was backing up his statement with a series of advertising illustrations that created a new high standard in the field and established a reputation that has kept him in the top bracket ever since.
Gilman, Charlotte. “The Yellow Wallpaper.” Literature a World of Writing: Stories, Poems, Plays, and Essays. Ed. David Pike, and Ana Acosta. New York: Longman, 2011. 543-51. Print.
------. "The Writing of 'The Yellow Wallpaper': A Double Palimpsest." Studies in American Fiction. 17 (1989): 193-201.
Within the last few years, graffiti has been deemed an acceptable and tasteful genre of art. Long gone are the days where the spray can belonged exclusively to the local delinquent. From the past to present, there has been a shift in how street art is recognized by the general public and the government. Laws and policies are being put into place that both defend and threaten the promulgation of this creative medium. By both protecting and prohibiting, the government displays an inconsistent and confusing relationship with street art. When art is so subjective, it can become challenging to delineate the fine line between vandalism and creativity. This essay will discuss the changing public perception of graffiti, the trademark and copyright battles between graffiti artists and property owners, the categorization of street art as an artform, and the beneficial aspects of commissioned street murals.
Treichler, Paula. "Escaping the Sentence: Diagnosis and Discourse in 'The Yellow Wallpaper'." Rpt. Twentieth-Century Literary Criticism Vol. 37. Detroit: Gale 1991. 188-194.
Gilman, Charlotte Perkins. “The Yellow Wallpaper.” Literature for Composition: Reading and Writing Arguments about Essays, Fiction, Poetry, and Drama. Ed. Sylvan Barnet, William Burto, and William E. Cain. 8th ed. New York: Pearson Longman, 2007. 765-75. Print.
Gilman, Charlotte. "The Yellow Wall-Paper." Literature and the Writing Process. Eds. Elizabeth McMahan, Susan X Day, and Robert Funk. 4th ed. Upper Saddle River: Prentice, 1996. 105-115.
The “privileged minority” mystifies works of art in order to control people’s view. Berger explains how Hals becomes after he painted the two paintings. According to Berger, “he obtained three loads of peat on public charity, otherwise he would have frozen to death. Those who now sat for him were administrators of such public charity” (158).