Abstract This paper shows how Hughes and Cullen follow Du Bois? prescription in their creations of black art. The author focuses on Hughes? poem "Ballad of the Landlord" and Cullen's poem ?From the Dark Tower,? and derives his definition of Du Bois? artistic prescription from his essay ?Criteria of Negro Art.?
From the paper:
"Amidst the prevailing racial injustice during the Harlem Renaissance, W.E.B. Du Bois charges black artists to use their art to send a message to society: a message of unity to the blacks, and a message rejecting their so-called inferiority to the whites. Black art, Du Bois insisted, should be used as a weapon against racism, demonstrating blacks? worthiness of American status and their ability to conceive Beauty in their art. Countee Cullen and Langston Hughes, whether intentionally or not, followed the artistic specifications set forth by W.E.B. Du Bois in their respective creations "From the Dark Tower" and ?Ballad of the Landlord.?
Abstract This paper explores the emerging popularity of video art in Korea. The writer discusses the reasons for the interest in this art form, and some of the major artists practicing this art form. Several recent exhibitions are described as are some of the works that were part of the exhibits. The author concludes that Korean artists are now taking the world stage to showcase their work, even if some of their creations are only significant to Korean audiences.
From the Paper "Park Hyun Ki was born in 1942 in Seoul, his focus in art is in the link between spirituality and technology. He explains that his particular interest is in finding the balance between industrialization and culture. The deeper undertones of his art is that he finds in Korean culture the economic growth and the social growth from Western countries have changed it away from traditional values. He sees the video art as a method of using video monitor as an art object, however he has evolved to using a more sophisticated "merging of video and nature". "
Abstract This paper analyzes Martin Heidegger's definition of art. The author claims that the origin of art is created from some form of activity on the part of the artist, whether it be creating a painting, song, sculpture or poetry. This paper focuses on Van Gogh's painting "A Pair of Shoes" and describes Heidegger's view of this particular work of art as well as his perception of the artist. The writer of this paper questions whether the artist creates the art or if art in fact creates the artist. This paper also discusses the significance of technology and nature in any work of art while describing Heidegger's definition of the 'thing' needed when creating art.
From the Paper "After mentioning the artist, Heidegger begins to question what the artist is. We must question then if the work is what makes the artist, or is it the artist that makes the work. He tells us that the artist is the source of the work, and the work is the source of the artist. Both the work and the artist depend on each other, and one of them cannot exist without the other. Both the artist and work are related to a thing that comes before each, and that is what Heidegger calls art. If artist and work are both dependent on each other to be the source of the other, so do to both depend on art as their source. Heidegger asks if art can be a source of a work of an artist. Heidegger then claims that art is nothing more than a collective noun that signifies nothing now."
Tags:art, book, literature, van, gogh, painting, poetry, technology, review, perception
Abstract In this article, the writer discusses that art and politics often go hand in hand, though usually artists seek to expose the hypocrisy of ruling elites and so produce art that deliberately fails to meet with the approval of the leaders. The writer notes that at times, governments make use of art and artists for propaganda purposes, a process known from the various posters used by the Nazis and the Communists to promote their ideas. The American government has made use of art in a similar way, including art that otherwise would not find official approval. The writer concludes that the history of the way art has been used by the government suggests that the art itself is viewed in terms of its usefulness more than its actual content or any aesthetic base it may have, and primarily modern art has been used to counter the more staid and more politicized art in support of enemy ideologies.
Outline:
Introduction
Modern Art Art and Politics
Art and American Taste
Art and Ideology
Conclusion
From the Paper "The modern art movement diverged from the more accepted representational art preferred by most political leaders, and even though much modern art was considered too opaque to be understood and in some ways decadent, it was embraced as a propaganda tool by the U.S. government through agencies such as the CIA during the Cold War period. Most Americans are unaware of the way this process was undertaken and used and might be surprised by it, given the more prosaic attitude taken toward art by political leaders to this day. Analysts point out that many of these programs were conducted quite openly just the same, though even observers aware of the program might wonder why modern art was chosen and how it was used to benefit American interests."
Abstract In this report the author examines the photographer as an artist and what he can contribute to natural art. From the other point of view the author also examines how art has influenced photography. He cites many opinions of famous artists and photographers. The conclusion of the paper clearly communicates that in society today art and photography cannot be considered mutually exclusive.
From the Paper "Limitations in photographic technology determined the imagery left from the Civil War. Because exposure took several seconds, Brady heavily favored images that didn't move. For example, full regiments in formation often held still for the camera. Additionally, the gruesome aftermath of battles constituted the other predominant category of Civil War photos. For a country that had been reared on the adventure and glories of war portrayed in paintings, the overall impression of this rupture in the American psyche was depressingly grim, drab and nauseating."
Tags:artists, painting, museums, light, camera, studio
Abstract This paper debates the influence of the colonial past and the way that indigenous art forms are altered and even possibly distorted in the process of appropriation. It discusses the topic of non - indigenous appropriation and whether this is artistically legitimate or even possible in terms of the perceptions brought by non - indigenous artists from other cultures. It also explores the ways in which two non - indigenous Australian artists have been influenced by indigenous art and makes reference to some of the issues relating to the appropriation of Australian indigenous art in a modern and postmodern context.
Table of Contents:
Introduction
Brief Overview
Artists Appropriation and other related issues
Conclusion
Works Cited
From the Paper "One of her most well - known and lauded works is entitled 'Terra Spiritus'. This is in effect a series of 51 prints depicting the Tasmanian coastline,"...each feature labeled with both the English and the original Tasmanian topographic names, while the colors are derived from native Tasmanian ochres." (Bea Maddock) There is therefore a trajectory in her work which seeks to combine elements of indigenous art with the colonialist and European past and influences, in an attempt to create an area of discourse and interaction in art between the indigenous and non - indigenous. "
Abstract The fact that so many of these artists were of a military background begs the question: Are the themes and styles of English Canadian art during the decades immediately after 1759 influenced by these artist's military backgrounds? To answer this question, this paper will first discuss British artists in Canada during this time, and their backgrounds, and then proceed to an examination of two particular artists and their works.
Abstract This paper attempts to explain the benefits and the pitfalls of the digital revolution for artists and art education. According to the paper, the advance of the digital age and its impact on the art form and the education of art appears significant. Traditionalists argue against the newer form observing that it degrades the purity and aura of the original artistic form. Those who embrace the digital age on the other hand believe that the globalization of the digital media and the accessibility of creating and learning art through cheap high quality digital products.
Abstract This paper explores what makes a Californian artist and how this definition has changed throughout history. It describes the terms which characterize Californian art such as: plein-air painting, tonalist painting, and more. It details certain famous Californian artists like Amil Jean Kosa Jr., Simon Rodia and many more. It studies the major influences on Californian artists ranging from New York to Europe.
From the Paper "To write about a California style of painting is to write about a subject as large and diverse as the state itself, which is to say that nearly everything that has been done in art since at least World War II and probably since the beginning of the 20th century has been done in California. And yet despite the diversity of art that is created in the state ? which means that in one sense there is no particularly Californian style of art ? there are certain artists who seem to typify what might be called a Californian mode of expression for us. This paper explores what makes certain artists ? regardless of their biographical antecedents ? quintessentially California and how what constitutes the Californian artist changes from one historical moment to the next."
Abstract This paper describes the folk artist that is Vassily Kandinsky; his background, what defines a folk artist, and how Kandinsky progressed from the general art of the 1900s in to a force that changed the way modern art is viewed. Examples of his art are enclosed.
From the Paper "The folk artist of the twentieth-century has been widely viewed as an artist that is not universally popular, accessible, or substantial to the progression of popular art. By the World Artist Dictionary, folk art can be defined as simply na?ve, primitive art that is done by someone who has had no artistic institutionalized training. Generally speaking, folk art is commonly thought of as figurine work, quilted blankets, beads and jewelry art; generally items that are thought of as simple traditional pieces that do not require specialized training. Russian born painter Vasily Kandinsky is an artist who transforms the notion of folk art to something that can be popular and significant. He represents the truest folk artist by his experiences as an ethnographer who traveled to the Vologda region near Siberia, his background in the Ukranian and Russian churches, and by his drive to illustrate traditional Russian lore and values while incorporating them in to the twentieth-century art movement."
Abstract This paper argues that government support for the arts can have a negative impact on artists, audiences and market sectors. It discusses the problem of the government considering artistic merit based on the artist's ideology. The author also mentions the role of the National Endowment for the Arts.
From the Paper "Should governments control public funding in order to shape the arts world addressing diverse audiences and determining not only what art events are offered but also who should attend. Opinion on this issue is divided ..."
Tags:Arts, Government support, National Endowment for the Arts
Abstract This paper contains a concise biographical background of artist and sculptor Constantin Brancusi as well as relevant information regarding his more famous works of art, including: "Endless Column" and "Gate of Kiss." The writer of this paper explores Brancusi's intense expressiveness of abstract form as well as his handling of simplistic and basic themes of nature which garnered him much respect and fame as one of the great artists of the 20th century. This paper also details Brancusi's use of stone, wood and metal, coupled with his personal background and contemporary Romanian themes that evidence his social, political and aesthetic ideas to produce works of art that led to his well-earned reputation as a revolutionary modern artist.
From the Paper "One example of a personal biographical detail that influenced Brancusi's life was his childhood in Tahiti. Although he was born in Craiova, in Southern Romania in 1876, he spent his childhood and youth in Tahiti. He was born into a large peasant family, and the family maintained its poverty throughout Brancusi's childhood. Brancusi did not go to school, but worked as a herdsman, first watching the family flock, then working for other country people in the Carpathian Mountains. Here, he learned to carve wood by fashioning tools and implements, through a popular art form making spoons, bedposts, or cheese presses, all of which were ornamented with carvings, but also for making the facades of homes."
The use of technological machinery, the secular nature of Earthworks, and the celebration of the individual artist's viewpoint are the ties that bind land art to modernism.
Abstract This essay first examines the modern art movement known as ?land art? or Earthworks. After explaining the philosophy and techniques used by all Earthwork artists, the essay concludes by evaluating the meaning and significance of the famous Spiral Jetty by Robert Smithson. This 1500 foot coil of earth, salt crystal, and rock that extends into the Great Salt Lake is the most famous work of land artist and has multiple meanings and associations that are analyzed in the paper.
From the Paper "Earthworks, sometimes referred to as ?land art,? are a more recent development of modernist art, although they have their roots in thousands of years of cultural activity throughout the world. In that respect Earthworks differs from modern art movements like Impressionism and Expressionism. Stonehenge in England is an example of an ancient form of land art, and in most other nations can be found human alterations of the natural environment for symbolic or religious reasons. The Earthworks movement of the late 1960s and beyond was not the result of religious fervor or mystical devotion, but rather a grand response to art consumerism and insubstantial conceptual art (Hughes 384). Artists like Robert Smithson and Michael Hizer wanted to create huge and timeless rearrangements of the landscape that no one could ignore due to their overwhelming physical presence in the world. That is the nature of the Earthwork movement."
Tags:art, earthworks, jetty, land, robert, smithson, spiral, modern, Salt, Lake, Great
Abstract This paper explains that Barbara Kruger and the Guerrilla Girls have taken traditional methods of art application and placed them within the normative modes of advertising methods. The author points out that inter-disciplinary arts, which are more than just an art technique, has become a public forum for feminist issues. The paper relates that, by opening the doors to the way that art is perceived, both Kruger and the Guerrilla Girls have taken art out of the traditional confines of museums and art houses and into modern media formats.
From the Paper "This art analysis presents an inter-disciplinary study of the art and advertising methods of Barbara Kruger and the Guerrilla Girls. By taking various examples of advertising billboards, magazine ads and other forms of art used within the modern media, an inter-disciplinary mode of art is created through the work of these artists. Through the study of the work of both Barbara Kruger and the Guerrilla Girls, one can realize the feminism and cultural impact of mixed mediums within modern inter-disciplinary art."
Abstract In this article, the writer notes that art institutions have undergone significant changes in the past several decades. These changes are the result of the transformations in society as well as in art. The writer maintains that one way of addressing this relationship transformation is analyzing the position of art institutions that exist within societies and countries around the world. The writer points out that art institutions, like galleries and museums, are places where not only the work of art meets the eye of a critic but also locations where the broader public interacts with it. The writer notes that the public interaction with the artistic world in the art institutions is of crucial importance. After all, whether a work of art is going to survive or not depends a great deal on its public acceptance.
From the Paper "The art and artistic expression has elevated itself from aesthetic human activity to more intellectual and actively socially involved one. The artists view their role as a socially active one, as members of society who openly and sometimes provocatively challenge the accepted ideas and social values. They are ready to tackle the ethic and social taboos, attitudes and widely accepted believes. This inevitably is result form the fact that the contemporary art works are not created form the void. Rather, the conditions within our society shape the ideas and "products" of artistic activity. The artwork becomes as a result, a part of a dialogue that comprises the culture in our society."
