Abstract This paper defines Samuel Mockbee as a renowned architect and a great artist and examines the works of Samuel Mockbee which portrayed powerful artworks that test the mind. It shows how Mockbee had a specific talent for portraying powerful themes within his artwork in a subtle and yet obvious method. The paper tells us of the life of Mockbee, who grew up in the rural Alabama region. The author relates that Mockbee dedicated most of his life in the south and, lived through the stages when the south was being confronted with trials and tribulations of the civil rights movement. The author continues the paper with discussions of some of the more well-known pieces of artwork and architecture that Mockbee created. In conclusion, the author tells us that Mockbee's artwork shows characteristics as well as finesse, as he shows why his architecture was always soulful in its own context.
From the Paper "Charles Moore is a very metaphorical artwork, brilliantly hewn by Mockbee. The overall arrangement of the forms on the picture is centered in the middle. There is no hint of symmetry. The overall patterning shows that the entire surface does not include design elements. The major design element is enlarged and takes a considerable amount of the design surface. The focal point of the picture is leading towards the right as most objects are facing to the right. The hierarchal scale indicates that the rooster/chicken and the figure of the man are most distinguished in the picture, i.e. they are the main source of appeal."
Abstract The paper explores representative artwork that neatly encapsulates the cultures from which they sprang. In each instance, be it Ganesh, Chinese ritual bronzes, or sculptures portraying Amida, the artwork that the paper discusses has provided unique subtleties and nuances that reflect the subtleties and nuances of their respective cultures. No less importantly the aforementioned artwork illustrates the intersection between art and religion and the paper discusses how religion gives shape to both a society and to its artwork.
From the Paper "Finding the Souls of Ancient Societies in Their Artwork: the Artistic Creations of Pre-Modern India, China and Japan It is commonly said and written that the artwork of a society is a mirror into that society. The following paper will examine this proposition by looking at Indian Ganesh artwork, representative Chinese artwork from the Bronze Age and, not least of all, Buddhist artwork that captures the spirit of ancient Japan. What should become when reviewing each of these artifacts is that a society's collective soul is often to be found in the artwork it produces - at least if the observer is prepared to look hard enough and long enough for it. The imagery associated with the Indian deity Ganesh is quite astounding."
Abstract This paper examines how even though the society that was Byzantine has faded from the annals of history and gone is the Eastern Empire of the Holy Roman Emperor and his vast influence over the ancient world, the cultural diversity, architectural prowess and masterful artwork of the time remain ingrained into the fabric of our society. It shows how this type of influence is evident in modern times by a city such as New York, considered to be ?cosmopolitan.? Along with worldliness comes an interest in all things aesthetic. The architecture of the Byzantine period distinctly reflects this influence. The glory of Byzantine is not an era bygone, but rather lives at present in modern cultural diversity, architecture and artwork.
From the Paper "Most may think of luxury automobiles as having a modern futuristic bent, but the simplicity of the outside belies the splendor within. Granted there are no rotundas, pendentives, or cylindrical drums (Byzantine Architecture) present but within there is an abundance of opulence (television screens, highly polished wood paneling, leather, gold accessories etc) designed for paying tribute to the modern gods of money and status. Far fetched? Perhaps, but the suggestiveness and display of grandeur can not be ignored. "
An analysis two of the more famous versions of the Indian epic "Ramayana": the "Rama Charita Manasa" or "Tulasi Ramayana" by Talsi Das and the "Valmiki Rmayana" by Valmiki.
Abstract As the author explains, the "Ramayana" is an epic story about King Rama's banishment from his kingdom, which has been transmitted orally for centuries in India. This paper examines two of the more famous versions, particularly in relevance to the artwork of Orissa, the northern Indian state in which the story is told. The author analyzes the artwork in order to demonstrate historical flexibilities in the story, which he maintains is a result of the nature of oral tradition.
From the Paper "The Ramayana is an epic poem that derives it dynamic nature from its history as an orally transmitted piece 1. These changes can be seen in any art from one area over time. Here, Orissan art from the early and late 20th centuries were used. In classic oral tradition, minor plot details can change, but the general theme of the work remains the same. The minute details change in order to customize the poem to a region and a time, so as to make it more accessible to those in need of it. Tulsi Das wrote his Ramayana in order to appeal to those who could not understand the older version of Valmiki's. Contrarily, Valmiki's version has resurfaced recently in Orissa because its moral structure allows a more direct relationship with the audience."
Tags: India, oral, tradition, artwork, sanscript, Hindu, Islam, Maya, Sita
Abstract This paper describes and examines Andy Warhol's "Electric Chair", a stark and interesting image of an electric chair. The paper speculates why Warhol uses such an image, what the meaning behind it is, and what emotions it relates to. The paper suggests that the artwork is possibly a sign of protest against the death penalty, and that it reflects the human fear of lonliness, the unknown, darkness and death. The paper ends on the note that the artwork evokes the disturbing issue that no one truly knows what happens after death.
From the Paper "The image brings about several emotions. The emptiness and lack of human presence makes one feel completely isolated and alone. The dark colors and shadows bring a sense of fear. It makes you feel that death is near. Death is coming and it is unavoidable. Depending on how one interprets the art piece one might feel anger or a sense of justice. If one were to disagree with the death penalty then this image would bring a sense of anger. The electric chair would be seen as a tool for inhumane treatment and bring anger towards the government that allows its use."
Abstract Discusses the artwork and its impact. The historical and cultural context of the time it was exhibited. How it was received by critics and the public. How the piece affected and transformed art. The aesthetic significance of the sculpture. Aesthetic example of modern art. Overview of Duchamp's life and avant-garde art.
From the Paper "This research examines Marcel Duchamp's artwork Fountain. The research will set forth the historical and cultural context in which the work first presented and then discuss how it was received, its impact on the history of art, and how it affected and transformed art, including the relevance of art criticism of the work to its aesthetic significance.
No discussion of Duchamp's art would be complete without reference to the sundry trends and styles of modernism and postmodernism. And no account of Duchamp's Fountain can be considered complete that does not include reference to the manner in which his output as a whole both proceeds and departs from various trends. Indeed, the cultural context for the creation of Fountain as a work of modern art is as important to an understanding of it as is the fact of context as an aesthetic ..."
Abstract The writer looks at the art works in Barbara Kruger's retrospective exhibition at the Geffen Contemporary at the Los Angeles Museum of Contemporary Art, picking out the similarities and differences in the theories addressed by John Berger in his book. The paper brings examples from the artwork as well as quotes from the book to show where the two types of work overlap and where they diverge.
From the Paper "Kruger has said that her work is "about a free-floating terrain of desire and pain" and in works such as this, as the many possible meanings are listed, it becomes clear what she means by this (quoted in Plagens 85). She presents a fairly simple image and text that sounds like a clich?. That is all. All reading 'into' this juxtaposition is done by the viewer. The many possible responses to the basic question of how a body is a battleground show how the viewer is set free by the implied question in the work. The viewer moves across unlimited possibilities and, depending on who s/he is, produces responses that involve pain or desire or some combination of the two. Kruger essentially aids the viewer in looking at how s/he sees the world. By presenting an unusual combination she gives the viewer access to fresh ways of seeing--including the ability to understand how s/he looks at things and what influences make him/her produce a particular response to images."
Abstract This paper explores Egyptian artwork, using 2 pieces from ancient Egypt which can be seen at the LCMA - Wadjet and Sekhmet. The writer studies the art as it relates to the expression of ideas, rituals and religion in ancient Egypt. The paper uses these two pieces because while the goddesses are similar, each with a lion's head, they are associated with different parts of Egypt - Sekhmet derives from Memphis, while Wadjet is from Buto.
From the Paper "This sort of rigid and bisymmetrical form is seen in both Wadjet and Sekhmet in the Los Angeles collection. The goddesses are similar as each has a lion's head, as noted, but the goddesses are associated with different parts of Egypt. Sekhmet derives from Memphis, while Wadjet is from Buto. Wadjet is considered the protector of the north, or Lower Egypt, and she also has associations with Hathor and is said to have helped Isis protect the infant Horus in the mythology of ancient Egypt."
Abstract This paper offers a discussion and analysis of the artwork entitled "The Judgment of Paris," by Lucas Cranach the Elder. Specifically, the paper describes the subject of the work and analyzes it with regard to its expressive content. The paper attempts to answer the following questions: What statement do you think the artist wanted to make? What techniques did the artist use to make this statement? "The Judgment of Paris" depicts a famous mythological scene with great attention to detail and reality.
From the Paper "Lucas Cranach the Elder was a German painter who lived from 1472 to 1553, and painted in the Northern Renaissance style. This painting, "The Judgment of Paris," is tempera and oil on wood, which measures 401/2 x 28 and Cranach painted it sometime around 1528. Cranach enjoyed painting in a natural style, blending his figures with the surrounding landscape, and this painting is a good example of his technique (Editors). The landscape behind the figures is quite detailed. It even includes a medieval castle on the edge of a towering cliff, along with a medieval town set off in the distance in the valley, with a ship floating serenely in the town's harbor."
Abstract This paper explains that the Dada movement, whether a painting, book or treatise, was intended to make the viewer think, to reconsider every one of his or her opinions, to break through the old boundaries and begin to look at the world in a new way. The author points out that Marcel Duchamp's "Fountain", an ordinary urinal, was his manifesto about the society for which the "artwork" had been made because, in this still nearly-Victorian age, Duchamp committed the unpardonable sin of making public that which should never even be mentioned. The paper relates that Francis Picabia's "painting" "Sainte Vierge" or "Holy Virgin", which is no easier to identify with than Duchamp's "Fountain", is an inkblot; the importance of which is the viewer's initial reaction to this Dada art. The paper includes several long quotations.
From the Paper "Whether in New York or Europe, Dada was a "movement" of the avant-garde. In order to understand the Dada, one must look into the conditions that gave it form and substance. The First World War was only an immediate cause - it was the spark that caused people like Duchamp and Picabia to search for a radically new form of expression. But Dada was more than paintings. Drama and literature could as much be expressions of Dada as any of Duchamp's or Picabia's works. By the time, Duchamp and Picabia had begun, independently, to create the style that would become Dada; the avant-garde had already established itself as a synthesis of the radical and the rebellious."
Abstract This paper discusses the life and works of Andre Derain, who was one of the most interesting artists of the 20th century. The paper discusses Derain's various painting styles, but describes him as best known as one of the fathers of fauvism, which was the first movement of the modern period which developed in France. The paper specifically focuses on analyzing his artwork entitled "Charing Cross Bridge."
Table of Contents:
Introduction
Charing Cross Bridge
Conclusion
From the Paper "The abandoning of more traditional modes of painting is extremely evident in this painting. The photographic quality that is often scene in landscape paintings is not present. In addition, Derain uses extremely vivid colors and the colors have very little variation (light and dark shades). Instead Derain uses flat color. At the time this was a very revolutionary form of painting. Indeed Bazin et al explains that most of the fauvists including Derain were often confronted with bourgeois conformity or the tutelage of younger artists (Bazin et al). However they displayed a type of progressive freedom in the way they carried themselves and how they spoke (Bazin et al)."
Abstract This paper examines how politics have long served as an impetus for artistic creation. The paper explains that artwork commonly reflects not only a personal vision, but a communal one, touching on themes that are recognizable to a large body of people. The paper further explains that while often seen as polar opposites, the political world and the art world are in fact not separate entities, but frequently intermingle. The paper looks at how, throughout the past several centuries, political establishments around the world have provided creative fuel for a wide array of art and how in recent years governments from various countries have begun extensively funding new museums and exhibitions, enabling art to reach the attention of the masses. The paper also suggests that while governments around the world have worked hard to censor art they deem politically dangerous or obscene, they have also worked towards funding projects by artists past and present. In conclusion, the paper shows that whether for good or evil, politics and art are parts of a whole, bouncing and reflecting off of each other.
From the Paper "Politics, being the shared link between a mass of people, have naturally entered into the artistic repertoire of important and frequent themes. From Diego Rivera's "Man at the Crossroads," depicting Trotsky and Lenin in Rockefeller's commissioned all-American mural, to Dana Shutz's "Men's Retreat," showing Bush's cabinet walking blindfolded through the forest, artwork has often been about political subversion. Politically motivated artwork is not restricted to paintings either, there are literally millions of films, photos, plays, sculptures, drawings, music, and other forms of art that all deal with a need for political change.
With such radical work, however, comes censorship. The political world has innate control over the art world because of its power."
Tags:artwork, goverment, power, censorship, museum
Abstract The paper relates that because it is used in commercial, military and political applications, illustration also acts as a means to trace social and cultural history. The paper therefore looks at the many well-known illustrators in America's history in order to show how the mediums and types of illustration have changed with the times. The paper looks at several illustrators who were politically affiliated and expressed their beliefs through their artwork.
From the Paper "Today, with the high-tech electronic communication and the ease of using computers to conceive of, draw, or refine artwork, it is difficult to conceive of an environment where there were few visuals and all had to be done by hand one-by-one. The creativity that existed through this artwork has been "illustrious," where each designer uses an "illustration" or an image to enhance or make communication more attractive. "Illustration is a communicative tool, clarifying and defining our understanding of the world" (National museum of American illustration). Because it is used in commercial, military and political applications, illustration also acts as a means to trace social and cultural history. It is a significant and lasting art form that provides an actual visual record of civilization."
Abstract This paper discusses the major events that took place during Rembrandt's lifetime and how these events were portrayed in his artwork. The paper first explains how Rembrandt's work advanced Calvinism, the new religious movement at the time that brought about new interpretations of the Bible. The paper then explains how Rembrandt's paintings and drawings show the differences between Calvinism and Catholicism, a very significant topic of debate during his time. Lastly, the paper points out Holland's tolerance in Rembrandt's time and how it is very visible in Rembrandt's work.
From the Paper "Rembrandt van Rijn is a well-known artist because of the beauty that his paintings and drawing hold and he his recognized as such. What is often overlooked, however, is the fact that his work is also very symbolic of the events that were transpiring during his lifetime. Rembrandt was born during the Reformation period, where Protestantism was becoming a popular religious choice in Europe. Over the centuries, Catholicism had been the dominant ideology in Europe, but the population had grown weary of the Church constantly abusing its power and the clergy using its position to make itself wealthy. Because of this corruption, a number of men brought new ideas forth. One of these men was John Calvin and his ideology became known as Calvinism. Calvinism was very popular in Holland, where Rembrandt was from, during this time period and it preached an increased focus on being tolerant of other people."
Abstract This paper aims to illustrate how artwork reflects the society during the period in which it was created. It also provides an analysis of how artworks have changed from being creative expressions of social realities to being symbols and artifacts of the social and historical events that occurred to human society over time. The scope of this paper is limited to discussing visual and literary artworks, since these forms of art creation are the most prevalent media through which artists expressed their social realities. The analysis of visual and literary artworks will cover the following important periods in human history: the High Renaissance period, scientific revolution, and contemporary or modern period.
From the Paper "Human society continuously develops through constant interaction and communication among its members (people). Indeed, humans have different ways, means, media, and form through which they can express themselves and extend their message to other people in the society. Art is an example of this medium of communication, which "involves skill and creative imagination in a musical, literary, visual, or performance context" (Microsoft Encarta 2002). Art is more than a medium of communication, since it goes beyond the traditional forms of verbal communication?it is also one way of "seeing" and interpreting the social reality of the creator or artist, where people can get a glimpse of what and how the artist depicts his/her reality (relationship between the self and society)."
