In this essay I will argue that my practice is contemporary by showing 21st century influences. I will do this by discussion of themes and practices of other artists that I am interested in, evaluating the issues they address. In particular Francis Alys, George Shaw and Social Realism.
I first realised my interest in manual labour, menial jobs and cycle of working, when I was travelling, and this influenced my work. Whilst visiting the Yves Saint Laurent gardens in Marrakech there was an employee of the gardens sweeping the flower petals into his grasp, whilst more constantly fell. This time consuming action initially interested me as absurd, however after further dwelling I considered the action more of a metaphor for the idea of working for many years in your life in a consistent cycle. We are taught from an early age the high importance work has, and are expected to work for the majority of our lives. The repetitive action of sweeping, moving the your body in a constant movement gave the impression to represent the day to day menial routines we are expected to partake in to survive the western world. The petals could be a representation of opportunities that pass us by in our lifetime, which we sometimes ‘sweep’ away without realizing. From this initial photograph I began to realize that these were the issues I was interested in, and looking back I can now see how my other work relates to it. ‘The City’ criticized the mass of people and buildings and how you are just a ‘cog in the system’ by manipulating the composition to be abrupt and forward facing with the skyscrapers, the huge buildings and only one figure present. I have always been interested in conformities and roles we are expected to fit into. My first unit at Univer...
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... free from 21st century technological advances, political worries or financial burdens. It may not only be the modern society Shaw is reminiscent about but his teenage self, the most ambitious, open, passionate George Shaw.
This fondness of his younger self could also be a reason for his preferences to enamel rather than the more traditional medium of oils. It is thought he might not want the connotations and rules associated with oils. He may be criticizing the historical elevation that comes in painting with oils. Enamels is, paint that is used for miniature airplane models, a hobby often associated with lower class young boys of a certain age without the financial capabilities to other hobbies, the hobby of bored Sunday afternoons. A far cry away from the traditional associations with oil paints. The paints that were intended the boast luxury, wealth and power.
This paper focuses mainly on the sincereity as well as the passion with which we do our job. Human body is a very sophisticated machine created by God himself. It can do all sorts of things but there are a few things at which the human body gets very perfect.And that perfectness comes from practice, devotion,love,sincerity and responsibility towards that particular thing. Let me associate the word "thing" in the previous sentence as working. Working for living. Reason I chose to write on this topic was that the Poem " Singapore" written by author Mary Oliver that I read in the book by John Schilb and John Clifford influenced me alot. The Poem narrates the life of a woman which works on an aeroplane and is cleaning teh restrooms which are very dirty. She visually and physically finds the job dirty. But while cleaning that restrooms she sees it in her own world.She finds her hands working in pleasure as she is wondering the scenes of rivers. She realises the truth of life that she has to work to earn her living.
In a century that equated the evolution of modern art with the will toward abstraction, Lawrence's early success and his sustained visibility are remarkable. He has walked a careful line between abstract and figurative art, using aesthetic values for social ends. His success at balancing such seemingly irreconcilable aspects of art is a fundamental characteristic of his long and distinguished career. In Lawrence's work social themes, often detailing the African-American experience, are expressed in colorfully lanky, simplified, expressive, and richly decorative figurative effects.
Before Impressionism came to be a major movement (around 1870-1800s), Neoclassical and Romanticism were still making their impacts. Remembering last week’s lesson, we know that both those styles were different in the fact that one was based on emotion, while the other was practical and serious. However, one thing they both shared was the fact that the artists were trying to get a message across; mostly having to do with the effects of the French Revolution, and/or being ordered to do so. With Impressionism, there is a clear difference from its predecessors.
I look to other artists for inspiration and affirmation in regards to my work. I am certainly not the first artist to portray ideas of the body and its fragility. Hannah Wilke, whose work dealt with ideas of beauty and vulnerability, is perhaps one of more influential artists for me. While her work greatly differs from mine, I believe that fundamentally she was asking similar questions of society through her work as I am. When I first saw her work, I felt f...
1. Hunter, Sam and Jacobs, John. Modern Art, 3rd Edition. The Vendome Press, New York, 1992.
"Whilst some feminists have argued to be included in 'male stream' ideologies, many have also long argued that women are in important respects both different from and superior to men, and that the problem they face is not discrimination or capitalism but male power." (Bryson, 2003, p. 3). The feminist art movement is unclear in its description because some describe this movement as art that was simply created by women and others describe it as art with anti-male statements in mind. For the focal point of this paper, the goal will be to analyze several female artists and their works of art who influenced, and who are said to have made powerful influence both in the feminist art movement from a political and societal perspective, then and today. With that being said, we will start with the female artist Judy Chicago and a quote from her that calcifies her position as an artist. "I believe in art that is connected to real human feeling that extends itself beyond the limits of the art world to embrace all people who are striving for alternatives in an increasingly dehumanized
These cultural strictures come in a number of forms. First, the artist attacks intellectual conformity, choosing art over all other means of self-expression even though it is not widespread in his or her society. Though it is not explicitly stated - and is perhaps even subconscious - the artist chooses art over either academe or high society. The artist questions society's customs, making this choice explicit in their daily actions. The artist rejects ostentatious displays of wealth and the cultural emphasis on money, replacing it with a frugal simplicity more conducive to authentic experience. Finally, the artist calls into question the cultural construct most important to any understanding of human interaction - the binary conception of gender.
From the creation of art to its modern understanding, artists have strived to perform and perfect a photo realistic painting with the use of complex lines, blend of colors, and captivating subjects. This is not the case anymore due to the invention of the camera in 1827, since it will always be the ultimate form of realism. Due to this, artists had the opportunities to branch away from the classical formation of realism, and venture into new forms such as what is known today as modern art. In the examination of two well known artists, Pablo Picasso and Jackson Pollock, we can see that the artist doesn’t only intend for the painting to be just a painting, but more of a form of telling a scene through challenging thoughts, and expressing of the artists emotion in their creation.
Modern art serves to immerse us more thoroughly in a scene by touching on more than just our sight. Artists such as Grosz, and Duchamp try to get us to feel instead of just see. It seems that this concept has come about largely as a way to regain identity after shedding the concepts of the Enlightenment. “Philosophers, writers, and artists expressed disillusionment with the rational-humanist tradition of the Enlightenment. They no longer shared the Enlightenment's confidence in either reason's capabilities or human goodness...” (Perry, pg. 457) It is interesting to follow art through history and see how the general mood of society changed with various aspects of history, and how events have a strong connection to the art of the corresponding time.
This exhibition will examine the changing role of Classical imagery from seventeenth through nineteenth century painting, as well explain how these changes gradually produced Realism. In the seventeenth century Nicholas Poussin and Peter Paul Rubens produced works that corresponded with the Classicism of the French Academie des Beaux-Arts, though they presented these ancient subjects in very different ways. The predominance of drawing and planning in Poussin’s work was seen in contrast with the dynamic use of colour in the works of Rubens. These two means of addressing Classical themes ideologically divided the Academie between the rubenistes and the poussinistes, who quarreled for over a century about artistic approaches and techniques. The innovative and expressive works produced in the eighteenth century and beyond can be seen as a product of the rubenistes’ triumph in this conflict. Following in the example of Rubens, British artist Joshua Reynolds made use of colour and dynamic compositional techniques that combined the portraiture popular in England with the Grand Manner style that gained favour in the Academie. Reynolds became the first president of the Royal Academy in Britain and gained international acclaim for his work. The achievement of such an honour fared more difficult for artists such as Eugène Delacroix, who took a bolder approach to combining Classical imagery with reality and was frequently rejected by the Academie for doing so. This was also the case for Edourad Manet, whose scandalous work shocked viewers of the Salon des Refusés with its perceived immorality and distasteful appropriation of Classical imagery.
As she becomes more entrenched in her work, her mind is filled with madness and perplexity. To express the confusion she is experiencing, she describes her mind as “a badly organized file,” (Piercy 8) and “a switchboard where lines crackle,” (Piercy 9-10). Being a secretary involves so many tasks, making it hard to have a clear mind. Like the secretary, the speaker in Philip Levine’s “What Work Is” understands the confusion that comes with a workload. When it begins to rain, the speaker says the rain is “falling like mist into your hair, blurring your vision,” (Levine 9). This suggests that like the secretarial job, being a male in the workforce was demanding as well. The speaker from “The Secretary Chant” cannot control the dehumanization she is experiencing, like the speaker from “What Work Is” cannot control things becoming
England, for instance, was dealing at the turn of the century when Shaw was writing, with melting class distinctions. The working classes had gained the vote and the right to education. Improvement of slums, improvement of factory conditions, and greater representation of the lower classes in government signaled the democratic reform going on in advanced countries. In addition, it was a time of the rising power of the middle class, with the entrepreneurial spirit reigning as the force of the future. Bluntschli represents the middle-class business spirit of Europe; the Petkoffs are the aristocratic great landowners of the past; Nicola and Louka represent the old peasantry, bound to the land and landowners.
Diarmuid Costello, Jonathan Vickery. Art: key contemporary thinkers. (UTSC library). Imprint Oxford: Berg, 2007. Print.
Painting in the 19th century, still highly influenced by the spirit of Romanticism, proved to be a far more sensitive medium for the kind of personal expression one should expect from the romantic subjectivity of the time. At the very beginning of the “modern period” stands the imposing figure of Francisco Goya (1746-1828), the great independent painter from Spain. With much indebtedness to Velazquez, Rembrandt and the wonders of the natural world, Goya occupies the status of an artistic giant. His artistic range goes from the late Venetian Baroque through the brilliant impressionistic realism of his own to a late expressionism in which dark and powerful distor...
Many believed that Modernist works were not “art” because they did not always look like real life. But what is “real life”? A new outlook on reality was taken by Modernists. What is true for one person at one time is not true for another person at a different time. Experimentation with perspective and truth was not confined to the canvas; it influenced literary circles as well.