Abstract This art study examines the American paintings and sculpture exhibit at the Metropolitan Museum of Arts in New York City. The writer notes that the exhibit is formulated around a three-fold objective: portraits, landscapes and sculpture for early American history. The writer maintains that by examining one piece from each of these sections of the exhibit, there can be a diversified analysis of how the pieces are placed into the overall framework of the museum. The writer concludes that these Americanart exhibits represent a historical view of early American history and stylistics.
From the Paper "The historical perspective of this painting is recreated in a fictional pose for Washington and his solders as they cross the Delaware to surprise their British and Hessian enemy. This was an important point during the revolutionary war in which Washington gained a growing national and international support for the cause for independence. This aspect of the exhibition directly relates to the patriotic symbolism of the gallery, as it is representative of a collection that define American historical context. The painting is 149 x 255 inches and is placed within one of the large gallery rooms. The need for this is accentuated not only in its size, but for the centrality of its importance for the historical forum that the Metropolitan Museum of art is presenting. This painting is properly placed in the overall architecture of the northeastern part of the Met, since it allows a wide range of visibility and composure for the viewers to understand the crucial place this painting holds in American art history."
Abstract This paper discusses "Changing Hands", an art review of a major Native Americanart exhibit at the American Craft Museum by critic David Revere McFadden. It opens with an overview of the exhibit itself and its highlights. The review, and the critic's "authority" to report on the exhibit are then discussed. Finally, there is a commentary of the effect the critic's piece has upon one's desire to view the exhibit.
From the Paper "Changing Hands, the exhibit features several art forms of Native America. The artists who have displayed their work have given examples of both traditional and more contemporary pieces ? for example a reconstructed earthenware vessel of the type that might have been used centuries ago for water or other liquids. The several art forms shown by the Changing Hands exhibit include wool rug and vegetable dye; gold bracelet work inlaid with larimar, lapis lazuli,sugulited, shell, coral, obsidian and opal; earthenware sculpture; an acrylic collage on wood; glass and copper vase; cottonwood root sculpture; leather beltwork of silver, coral, turquoise, and serpentine; coral necklace with gold and pearls; pendants of gold, wood, silver, coral, turquoise, opal, shell, and lapis lazuli; earthenware canteens and jugs; hinged silver buckles; earthenware tiles of sand, copper, and oil on a wooden panel; sand media on wood."
Abstract This paper explores the work of Jackson Pollock, with an emphasis on his innovative style and its continued impact on contemporary art. The paper examines the world of art that came before Pollock during the middle years of the 20th century. Historical events, such as World War II, and their influence on art and thought are also discussed. The paper then describes the techniques Pollock used in applying paint to a canvass. Two of Pollocks works are highlighted and described. The first is entitled "Lucifer," and the other is "Blue Poles, Number 11," which is considered to stand out above all his others. The author concludes that Pollock's art has the uncanny ability to find order out of disorder.
From the Paper "In order to understand and appreciate the world of Jackson Pollock and his amazing art, we must first explore the world of art that came before him during the middle years of the 20th century. Following the end of World War II in 1945 and the beginning of the "Atomic Age," there persisted a haunting dread among many Americans that life "had no meaning or value" which influenced a number of highly-successful artists to protest in paint against what they saw as a mechanized culture that did not tolerate individualism and non-conformity. At this time, a new artistic style emerged known as Expressionism which was harsher, more defiant and rebellious than any of its predecessors and "insisted on an even more radical abstraction from the world of reality." "
Tags: Jackson, Pollock, abstract, expressionism, modern, art, American, art
Abstract The paper relates that for enslaved African-Americans, art became a form of expressionism, hope, history and therapy. The paper discusses the slaves' tools, songs, dances and their stories that all demonstrate how they are survivors. The paper also looks at the literature from this time period, specifically the narrative of Frederick Douglass, that conveys a strong American spirit that refuses to let anyone or anything beat it down.
From the Paper "Oral traditions go back as far as Africans do. While it might have been frowned upon in America, the tradition can be continued with songs and story telling. These stories and songs became specific to the African-American experience and they tell us so much about the endurance of slaves. Songs were used as tools of education as well as entertainment because reading was discouraged. Songs were not always sad as one might guess. While some songs told tales of agony and oppression, many were songs of hope that obviously lifted the soul in difficult times. We can learn about the tenacity of the human soul thought some of these songs. For example, one song asks, "didn't my Lord deliver Daniel . . . and why not every man." 1 Similar songs of freedom might have been the only hope that slaves could cling to when their lives seemed the darkest. How African-Americans sang is also significant because dance is very much a tradition that lives today."
Abstract This paper takes a look at African Americanart. The paper analyzes Richard Wright's text "Joe Louis Uncovers Dynamite" and John Stewart Curry's painting "Mississippi".
From the Paper "As the Great Depression took its toll on numerous Americans on a daily basis, something also very critical was taking place within the society; the construction of new identities. A number of artists and writers saw this movement and felt their desire to portray the reality into their works including articles and paintings. Their perspectives on the African Americans - an ethnic group which has been constantly oppressed and discriminated against - in the 1930s was focused on the process of African Americans' works on establishing their own new identity; identity that is strong enough to protect their rights and pride against the prejudiced and discriminating society. For example, texts such as "Joe Louis Uncovers Dynamite" by Richard Wright and John Stewart Curry's painting "Mississippi" reflect the reality of circumstances and conflicts African Americans were faced with and the process of overcoming them throughout the 1930s."
Abstract By 1933 at the peak of the Depression, nearly 25% of all Americans were unemployed. Under the leadership of President Franklin D. Roosevelt, the country struggled to recover from the recession that became known as The Great Depression. The paper explains that as part of his New Deal program, President Roosevelt enacted many domestic policies and projects to try to rebuild America. Several particular endeavors were designed to keep painters, sculptors, and photographers employed. Because of these projects, artists created many works throughout the Depression. The paper shows that while artist reaction to the New Deal was varied, the works of art that were created expressed individual attitudes about the Depression and left a lasting mark on Americanart. The paper includes several reproductions of works of art from the era.
From the Paper "As America sank deeper into the Depression, artists quickly found themselves unemployed. Consequently, they questioned the effectiveness of a capitalist society. In comparing the United States to the Soviet Union, many of the artists came to believe that maybe a socialist system was a better option. They joined many left-winged organizations like the Artists? Union with the common goal of obtaining state-sponsored art initiatives. The group published its own journal, Art Front, which proved to be quite influential. Letters were sent to Public Works officials asserting, "the State can eliminate once and for all the unfortunate dependence of American artists upon the caprice of private patronage" (Pohl 365)."
Examines the industrial revolution and its impact on American artists before and after the Civil War. Discusses themes, socioeconomic aspects, style and major artists.
1,575 words (approx. 6.3 pages), 4 sources, 1999, $ 55.95
Abstract "The industrial revolution took permanent hold in the United States around 1850 and its influence on Americanart is felt to the present day. But this influence was quite diffuse and ranged from direct responses to the changing nature of American society to the ability of new wealth to support styles of art that took little cognizance of anything as mundane as industry. In the second half of the nineteenth century America was transformed by its rise to immense power and wealth from a middling nation with limited influence to its twentieth-century position as a world leader. In domestic terms the growth of industry signaled the start of great waves of immigration that changed the ethnic makeup of the young country and it heightened the contrast between agrarian and urban economies.
From the Paper "The industrial revolution took permanent hold in the United States around 1850 and its influence on American art is felt to the present day. But this influence was quite diffuse and ranged from direct responses to the changing nature of American society to the ability of new wealth to support styles of art that took little cognizance of anything as mundane as industry. In the second half of the nineteenth century America was transformed by its rise to immense power and wealth from a middling nation with limited influence to its twentieth-century position as a world leader. In domestic terms the growth of industry signaled the start of great waves of immigration that changed the ethnic makeup of the young country and it heightened the contrast between agrarian and urban economies that had been a source of conflict since the time of Jefferson. In international terms the ..."
Abstract In this essay, the writer looks at the work of a select group of Native-American artists working in the post-war era. The writer notes that these artists managed to adapt a Modernist language in their own work, while simultaneously subverting that language in filtering it through their own personal experiences as Native artists. The writer points out that while some of the artists discussed here are still active, focus is limited on the period immediately after World War II and up to the 1980s. The writer provides some insights into the ways in which the Modernist paradigm has constantly been challenged by the work of Native-American artists throughout the post-war period. This paper includes color photographs of various works of art.
From the Paper "Although Houser would later come to be known primarily for his stone sculptures, this was his first major work in stone, the result of a commission by the Haskell Institute in Lawrence, Kansas. The work was meant to be a tribute to the students of Haskell who had died fighting for the United States in the Second World War. The work is a large-scale monumental piece that, though fairly straightforward in its execution, gives us some insight into the more abstract style that Houser would later develop in the course of his prolific career. The figure depicted, clearly a Native-American Indian male, wears a somber expression on his face. He is staring forward, clearly struck by the immense tragedy of a situation he is barely able to comprehend. He is wrapped in a blanket in an effort to protect himself from the cold harshness of the external world. The sculpture is neither realistic in a monumental sense nor rooted in the traditions of Apache Indian artwork; the style is all Houser's own. The overall shape of the piece is round and smooth. But it is the stunned expression on the Indian's face that ultimately pulls us in, reminding us that there are truths of a more existential nature that cannot be stated so easily, and that it is the task of art to ask such questions."
Abstract This paper discusses the importance of understanding the African culture which underlies art forms from Africa. The author points out that these masks are dedicated to appeasing the potentially powerful and destructive force of women, addressing male anxiety about female power. The paper provides a historic and thematic overview of Efe and the way these masks were used in the spectacle.
From the Paper "A Yoruba proverb says, "What follows six is more than seven. (Ohun tio wa leyin Offa o ju Oje lo)." The proverb suggests that we must look beyond what is easily observed if we are to understand something. Relating it to the study of African, art we must try to understand an artwork in its cultural depth as the expression of the local thought or belief systems lest we unwittingly remove the African in African art. Abiodun African art has a special sense ..."
Abstract This paper explains that American Impressionist Mary Cassatt began using a Japanese motif in works such as "The Fitting", one of a series of ten color prints, which are considered among the landmarks of Japonisme. The author points out that, while most American architects in the early 1900s looked to European architects for ideas, Frank Lloyd Wright found Japanese design and art more inspiring. The paper concludes that now, in the 21st century, Japanese creativity has taken a new approach based on electronic and computerized technology advances combined with art, called animation, or anime in the Japanese language, which is an art form eagerly consumed by the market.
From the Paper "Van Gogh wrote his sister how Buddhism was also impacting his life. He even shaved his head to look more like Japanese. He deeply studied the works ?not to simply comprehend Japan art by copying it, but to dig down to the very roots of Japanese culture to be able to generate original creative impulses of his own from the encounter.? American artist Frank Benson painted Impressionist images of table settings that mingled Japanese, Chinese, and American objects. Benson also applied Japanese technical considerations to his paintings. This interest is especially evident in a group of black-watercolor washes that suggest the swiftness and economy of Japanese ink painting."
Abstract This paper looks at the National Standards for Arts Education as a place to start in assessing any state's interest in and support of arts education. The paper explains that to assess New Jersey's positioning on the canvas of Americanarts education, the debate and its contributions were analyzed for the past decade; the findings were unequivocal that arts education has a place not only in humanities teaching, but also in creating an atmosphere in which all children can achieve. It explains that wealthier school districts are more likely to retain arts programs under pressure, although it is the disadvantaged districts that would most benefit. The entire issue is assessed in terms of the possibilities post-NCLB, and the current progress of the states in terms of adopting the National Standards for Arts Education are also discussed. The writer concludes that it appears that New Jersey has at least nominally found a niche among the states more dedicated to providing arts education. It remains to be seen whether that education will be of the 'media' sort, or the more substantive arts education that demands continued student/teacher involvement in pursuit of generalized goals contributive to developing an aesthetic sense and possibly some mastery in an arts area.
Chapter I: Statement of Problem
National Standards for Arts Education: History
The Standards Themselves
Budget Issues
Quantitative Information
Qualitative Findings
Chapter II: Literature Review
Merits of Fine Arts Education
Educational Reform and Arts Education
How to Conduct Arts Education
The Standards Themselves
References
Appendix A: New Jersey Standards for Arts Education
Appendix B: U.S. Hunger in the Year 2000
Appendix C: Jasmine's Story
List of Tables
Table 2.1: States requiring arts credits for high school graduation
Table 2.2: Mandatory Status of Arts Education by State
List of Figures
Figure 1.1: Reasons to Support Arts Education: New Jersey
Figure 1.2: Budgeted Funds for Arts Expenditures by Type of School
Figure 1.3: Budgeted Funds for Arts Expenditures by School Size
Figure 1.4: Budgeted Funds for Arts Expenditures by Region
From the Paper "Four years ago, discussion concerning the place and presence of fine arts education in public schools would have been primarily a discussion of the need for the curricula in the first place and the financing of it. In the early 1990s, discussion of National Standards for arts education became prevalent in the professional media. Since the start of the Bush administration's No Child Left Behind initiatives, however, any public discussion of the present and future of arts programs in public schools is clouded by a new dominant educational debate; the new debate concerns whether NCLB signals the death-knell of learning in U.S. public schools, or is a way to raise up the academically disadvantaged. While this investigation does not attempt to find the definitive answer to that question, there is little doubt that the fact and progress of NCLB will have an impact, and arguably a negative one, on fine arts education generally. Whether it is having or has had a negative impact on fine and performing arts education in New Jersey is a proper question for the current research, however. It is probable that the answers to a statewide survey of fine arts faculty conducted for this investigation will help resolve it. Indeed, the question to be answered is how well New Jersey's Fine Arts Programs compare to National Standards, allowing for classification differences within the state."
Abstract The purpose of this paper is to summarize three articles on modern art. These articles are on the American Action Painters, Post-Pop Art and how imperialism and paternalism have influenced culture and art.
From the Paper "The purpose of this essay is to discuss the action painters in the context of modern art. Rosenberg talks about the difference between modern art and traditional art and identifies modern art as incorporating the social conditions and experiences of artists and their subject; the reproduction of life in this case is an abstract concept and is expressed through action or the experience of what happens when the experience, feelings and creativity flow through the artist and the...."
Tags: Modern art, action painters, paternalism, colonialism, conception, abstract, American Action Painters, Post-Pop Art
Abstract An examination of the art of Andy Warhol and the reasons his work is so well-known. The paper explores his methods of production - mostly silk screen printing - and his 'series' - producing several images of a certain subject. The paper discusses how Warhol, in his various struggles to create art, was attempting to redefine and popularize Americanart by making it commercial and also by making the focus upon commercialism in his art a comment upon society.
From the Paper "Warhol's art blurs the relationship between what comes first, the reality or the image. More and more people construct their lives around what they see on television. Warhol, in his own work, From a to b and Back Again, that: ?A whole day of life is like a whole day of TV.? (Warhol 5) Both, he says, are never ending and never shut off. The never-ending nature of life, Warhol also made use of in his epic, virtually unwatchable films. The intention by making such long films as Warhol did was to suggest that rather than art trying to change and reinterpret life, art should reflect life and be as much like life as possible. As life is no longer interior and private and personal, art should also be exterior public and impersonal."
Tags: contemporary, commercialism, Reality, Television, Pop, art
Abstract This paper discusses how, as a result of a radical restructuring of the society on the economic, social and emotional levels, the industrial revolution inspired the rise of romanticism in Americanart. By reviewing some famous works of art such as George Caleb Bingham's "Watching the Cargo", it shows how changes triggered by the industrial revolution led to the discovery of the American landscape and the democratization of art.
From the Paper "During the late nineteenth century, apart from paintings that imitated European sophistication, the American paintings possessed a folksy quality that attempted to recapture the nostalgic past in response to its destruction by the Industrial Revolution (Lynes 40-41). Thomas Hovenden's "Breaking Home Ties" was one of the most popular pictures on display at the 1893 fair in Chicago. In this painting, a young man leaves his family and home to seek fame and fortune. In the background are five other distraught relatives living in a wooden house. The impression projected is of a traditional rural household. This painting presents one of the most enduring themes in American folklore and is depicted in American arts (Gowans 242). It is another reflection of the impact of the underlying effects of Industrial Revolution: young people are forced to leave home to seek greater fortunes as traditional occupations can no longer provide adequate income for the household (Garrett 25-27)."
