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‘Still Life: The Food Bowl’ draws on the still life genre as an artistic tradition that emerged as current agricultural practices were being developed. The sculpture displays a visible message to the audience, that their is a major problem due to the salt rising from the Murray Darling River and by what means Australia being affected by this situation. The Yonetani’s present their artwork as the ideas from the politics to tell of the political war going on about who owns the flowing waters and water distribution. Salinity has posed a major problem for civilisations throughout history, from ancient Mesopotamia over four thousand years ago to present-day Australia. Governments are struggling to address the problem effectively as individuals are
Australia is a very unique place, along with our multiculturalism there is also a strong heritage surrounding us. At first thought of Australian heritage we think about such landmarks as Uluru, The Sydney harbour bridge and The Sydney opera house, The Great Barrier reef and other internationally recognised places. But our heritage goes much deeper than that; it is far more than outstanding icons. Along with these icons there are also unsung places like the old cattle stations, Aboriginal missions, migrant hostels, War memorials, our unique wetlands and the towns and cities we have built. Adding all of these things together, helps to tell the story of who we are and how we have shaped this land in the unique identity it has today.
I am a plate that is made of clay that was taken from the Earth of Japan. But before I was made into a plate I was up to the mountains near a big forest that had a Jinja on top a beautiful waterfall where water fell from the top to the bottom and sometimes flowing to rivers. But when winter comes the waterfall would freeze into shards and when the winter goes the shards and snow turn into water filling up the waterfall making a waterfall from the top to the bottom flowing with an immense amount of water to rivers and ponds that would sometimes connect with the waterfall. My maker crafted me to be used as art depicting many natural objects or buildings even sometimes people in the drawing. I am also used to hold a meal for a person who would eat the nourishment from top to bottom. Most of the time I would have fish from the ocean or rice that was farmed in flatlands on top of me.
Art can tell every single part of people’s daily lives from emotion, poverty, power, environment, even social context. For example, “Waste Land” is one of art pieces that invaded the lives of Brazilian garbage pickers. Vik Muniz completed Waste Land in 2010. He used textures that express the concept of reality. His painting skills created a work so precise that people could see the meaning behind the image very clearly. Vik Muniz was born into a working-class family in Sao Paulo, Brazil. He was both artist and photographer. He is a successful artist in America. He is an artist that likes to combine everyday objects and transforms it into art. He used material such as dirt, sugar, garbage, and chocolate syrup for his painting. He had the talent to create art out of recycled materials. For example, one of his well-known paintings was “Waste land” made from the recycle materials, which helped people to see the social and environmental problem among Brazilian garbage picker society. Waste Land is both painting and documentary form. Before I saw the video, I never thought about how many pounds of garbage people produce each day. I was sure that most us did not think about the garbage that we threw away each day could cause a huge problem for our health and environment. One reason we did not see the garbage as a problem because we did not live near landfill. After I watched Waste Land by Vick Muniz’s, I realized that just because we did not see or smell the landfill did not mean there were not problems. Most of us thought when we throw out garbage it somehow would disappear. We did not realize that most of our trash ended up in landfill sites and pile...
This week I am choosing to write my piece on the bronze “Incense Burner,” from the tomb of Prince Liu Sheng. I choose this because the depiction of life and harmony in this artifact contrasts deeply with the art from previous regions, where their sculptures emphasized mainly on masculinity, heroism and death. I thought this piece to be very phenomenal, and I believe it captures the essence of this human and nature like bond, the gold outline tracing on the waves of water like arches bringing in this feeling of enlightenment. In this chapter much of the artwork depicts nature as the mother,protector, and also the ruler of life. They send to viewer’s different aspects and the profound connection between the beauty of nature and human. Above the outline ocean waves of the “Incense Burner,” are these
Dodson, M. (2000, May 1). Aboriginal Art Online: Art, Land and the Dreaming. Retrieved from Aboriginal Art Online: http://www.aboriginalartonline.com/culture/land.php
Nutrition, I have learned plays a big part in our life. To be honest I was clueless about how much nutrition affected our everyday lives. I love going to the gym working out, now that I know what should go into my diet I think I will see a lot more improvement. I occasionally follow the latest diet fads because I believed it would be better for my health, but in turn it really hurt more than it helped! This Diet Analysis project has been extremely useful course because I can personally relate to it and can use much of the information learned to my daily routines. The Diet Analysis project was a real eye opener because it let me see what exactly I was putting into my diet.
Dogfooding is the process of a company or person using a product they produce or promote for outside customers. Dogfooding in itself would not predict whether a product would be successful. People still have to have a desire to purchase the product, but knowing that the company, employees, or individuals advocating it actually use it gives credence to the company marketing it. A good example of dogfooding is Apple, Inc. The employees in the Apple stores use the products and software to help in the operations of the store.
Australia has been depicted through several different artforms – paintings, songs, poems – in order to reflect the multicultural national identity of Australia. These artforms in particular, had influenced the nation and advanced thought provoking ideas during the era of the oppressed indigenous people. Indigenous authors enlightened the hardships they faced, through artforms such as poems and contributed greatly to the Australian national identity. Oodgeroo Noonuccal, was the first Aboriginal woman to be a published author, and her poem “No More Boomerang,” highlights the impact the white settlers had on the indigenous community by showing the contrast in their daily lifestyles and the affect of the loss of their culture. These are revealed, through poetic techniques, imagery and symbolism, in order to deliver the subject matter to the audience. The message of the forced cultural differences the indigenous people faced was emphasised boldly and marked the white settlers as thieves of their land and culture.
“In my mind, the ultimate objective is to cause all Australians to have about them a spontaneous national pride in Indigenous Australia”, Kevin Rudd. It is important that Australian schools provide students with the opportunity to learn about the Australian Indigenous people. This is because they are a part of Australia’s history and cultural background and we need to appreciate their uniqueness. This is illustrated though the poems ‘No More Boomerang’ and ‘Then and Now’, by Oodgeroo Noonuccal. It is also represented in the picture book ‘The Rabbits’, by Shawn Tan and John Marsden. These texts demonstrate how the Aboriginal people experienced a loss of culture, land and traditions due to the colonization of Australia.
When read left to right, each object in “Still Life” seems more impressive than the last. The peaches on the left are going bad, a sign the owner had excess enough to let some spoil without fret. This is followed by simple grapes, crisp and leafy, then a delicately prepared pie already nibbled on, then a vibrant lobster spilling out of a visual cornucopia. After titillating the viewer with a mixture of food at its finest and last leg, Luyckx shows further signs of gaiety in instruments and music, loosely arranged with sheet music slipping off the table. Everything in “Still Life” looms still and final, including the lone butterfly who drifted in through the window. It seems to be suspended in the air, just another form of decoration like the flowers staged on an ornate tray. Even the fabrics on which the display of wealthy excess rests have a finesse with satin finishes, detailed embroidery, and lack all signs of wear. Meanwhile, Claude Monet’s “Basket of Grapes” could not be more simple and unassuming. The small painting would fit right in as a simple decoration in someone’s kitchen compared to the large, looming size of
Water is the most important resource on this earth. We use it for drinking, brushing our teeth, taking showers and so much more. Without water our world would be useless and everything would go extinct. In the documentary called Flow: For Love of Water, directed by Irena Salina, it goes in depth on the water crisis that is threatening our earth. It uses ethos, logos and pathos to show the viewers how crucial this problem is to our society. It shows the nitty gritty things that not everyone may be aware about.
As populations grow so does the infuctructure. In order for population growth so do the necessary systems such as sewer, stormwater, and drinking water, these systems are put in place to minimize and lessen the damage and destruction that people cause upon the Australian ecosystem. The creation of structures like wastewater treatment plants and transfer stations are to limit the amount of pollution dumped into the environment, however, when such systems reach a critical capacity and can no longer effectively control waste, then the pollutants find their way into the ecosystem. The continual growth of Australia’s population in and around its major city’s will put increasing stress water supply. People use water for drinking, bathing, cooking,
‘Most artists have critical and productive relationships with their culture’. The statement above can be considered through the art of Jean Michel Basquiat and Ai Wei Wei as they attempt to depict their own cultures. Both artists demonstrate this in a critical light in response to world events and issues through their art. This is reflected expressively through Jean Michel Basquiat’s “Per Capita” and Ai Wei Wei’s “A study in perspective”.
In this essay I will consider the roles of city and country in three short stories; Water Them Geraniums by Henry Lawson, Short-Shift Saturday by Gavin Casey, and Trees Can Speak by Alan Marshall. I will argue through contributing to character development, they provide insight into the construction of contempory Australian identity. In Water Them Geraniums the outback is shown to be an emasculating force, particularly for women, that strips away their humanity until they function in a mechanical way to survive off the land. In Short-Shift Saturday the narrator is a product of an inherited colonial culture and imagines that it is the alien landscape and culture in which he lives that is the agent of his suffering. In reality, the countryside is used as a device to allow pathetic fallacy, reflecting the emotional state of the main protagonist. In Trees Can Speak the main character is the personification of the land and demonstrates the desirable state of being in harmony with the bush. I will put forward that across these three stories, the relationship between the characters and their environment is used to chart a period of progression from English myths and ideals onto the emergence of an Australian identity.
Ever since the first settlements of the Australian continent, Aboriginal society has been engaged in ongoing dialogue with Western society. On the subject of morality, Deborah Bird Rose writes that, using the Yarralin people as example, the Aboriginal people hope to illuminate the Western world to the rectitude of Aboriginal moral law (Rose 1984, 78). Similarly, a not so unfamiliar theme arises when one divulges the motivations behind the creation of art in Aboriginal society. As Dussart explains using the Warlpiri as example in A Body Painting in Translation, acrylic paintings are “a means by which the Warlpiri undertake a form of social dialogue with the world outside” (Dussart 1997, 190). Aboriginal artists are motivated to create art by, amongst other reasons, the potential for their art to illuminate their own culture. The Aboriginal people believe that their paintings do more than just speak to their audience creatively; instead as Wally Caruana puts it in Aboriginal Art (World of Art), the Aboriginal people see “art as a means of persuading outsiders the value of their life” (Caruana 1993, 10). Moreover, the Warlpiri are not alone. Elsewhere in Australia, the Yolngu and their painting traditions of Northeastern Arnhem Land, as chronicled by Howard Morphy, speak to this point. The Yolngu from the 1930’s to the 1950’s underwent a transition towards painting patterns associated with ancestral beings with the goal of “educating Europeans about Yolngu religious life” (Morphy 1998, 242). This active decision by Yolngu painters to paint towards education shows not only that they prescribe to this view about the functionality of their art but also that the action was deliberate, thereby legitimizing art as a method for cultural education. Likewise, The Aboriginal Memorial was also created