| Papers [1-15] of 100 :: [Page 1 of 7] | | Go to page : 1 2 3 4 5 6 7 —> | Search results on "ART PROTEST 20TH CENTURY": |
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Art and Protest in the 20th Century, 2005.
A critique of James Agee and Walker Evans' "Let us Now Praise Famous Men".
1,498 words (approx. 6.0 pages), 2 sources, MLA, $ 49.95
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Abstract
"Let us Now Praise Famous Men", James Agee and Walker Evans' study of three tenement families living in 1930s dustbowl America, is both a failure and a great artistic work. The paper explains how the book is a work of art because it invested dignity and the worthiness of being a photographic and journalistic subject to some of the poorest and least recognized members of American society. The Gudgers, the Woods, and the Ricketts are respectively given the same visual and prosaic poetry, honor, and valorizing treatment as might be conferred upon President Roosevelt himself. It points out however, that because of the limits of the photographic and written medium, even the reality of the medium somewhat limits the portrayal, and renders exotic their poverty and privation.
From the Paper
"It is for this reason that the book is a failure-a failure that Agee set out to commit, as he admits in his opening. "It seems to be curious, not to say obscene and thoroughly terrifying," he begins in his introduction, that "an organ of journalism," of which he and the photographer Evans were an instrument, could pry into the lives of defenseless human beings, "in the name of science and of honest journalism. (7-8) He knows his goal of conveying dignity to the farmers will fail, but he will try. And "If I bore you, that is that." (9) In other words, Agee writes, he will attempt to show reality, in all of the glory of the boredom of human, daily life, rather than inscribing the journalistic question of 'what is the story?' onto the truth of representation."
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20th Century Art, 2002.
Examines how female artists flourished in the twentieth century.
3,455 words (approx. 13.8 pages), 11 sources, MLA, $ 97.95
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Abstract
Between the years of 1912 and 1914 the entire temper of the American arts changed. America's cultural coming-of-age occurred and writing in the U.S. moved from a period entitled traditional to modernist. These changes engaged an America of rising intellectual opportunities and intensifying artistic preoccupation. With the changes came opportunity for male and female artists. And although female leadership in most careers was scorned by the modernizing society, artists Georgia O?Keeffe, Gwen John and Suzanne Valadon demonstrated that opportunity was blind to gender and opened its door to all who would knock. This paper examines the lives and careers of these three artists and examines some of their artwork. The paper also includes colored copies of the works discussed.
From the Paper
"After the war, although the experience cast a dark shadow on the optimistic American evaluation of the world, America pulled herself out of the trenches of Germany and France, and decided it had come of age. America, the fledgling democracy which was just over a hundred years in age, entered the war and turned the tide of aggression that all of Europe could not contain. With this new courage, and a national sentiment that valued the traditions of its past, America went looking for herself, and found her portrait painted by the words of the modernist poet, and on the canvases of abstract painters."
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Art and Pop Art, 2002.
A comparative analysis of art with pop art using the works of Andy Warhol and Leonardo Da Vinci.
1,150 words (approx. 4.6 pages), 6 sources, $ 44.95
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Abstract
This discusses art and pop art, and distinguishes between the two by noting the characteristics of each form. As examples of each, two works of Andy Warhol are compared and contrasted to Da Vinci's "Last Supper" and Rembrandt's "Syndic of the Clothmaker's Guild.
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The "Art" of Art Forgery, 2002.
Shows that forgery is more than just a copying process, involving complex techniques found in art.
2,900 words (approx. 11.6 pages), 5 sources, $ 106.95
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Abstract
This paper examines the skill involved in producing 'true' forgeries within the world of art. It is stressed that the forger is to be seen as an artist, in that he or she must sometimes enter the mind of the original artist, master his or her techniques,and otherwise execute works that can withstand the expert eye. Forgery is a normal aspect of the art world.
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Popular Religion in England - 18th Century., 2002.
This paper discusses the subject of popular religion in England during the latter part of the eighteenth century.
1,150 words (approx. 4.6 pages), 6 sources, $ 44.95
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Abstract
Included are the Church of England, the Catholic religion, the protestant religion, and many types just becoming popular during this period such as Unitarianism, Baptist, Methodist, and such. Included in the discussion is the expansion of England as a dominant force in Europe and its effect on the government's willingness to maintain a low-key attitude about religion. The latter portion of the eighteenth century ushered in a new era of freedom of religion and the key points leading up to this are discussed herein.
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Art, Sex, and Freedom of Expression in Asian Art, 2008.
An analysis of sex and sexuality in contemporary Asian art.
1,332 words (approx. 5.3 pages), 6 sources, MLA, $ 44.95
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Abstract
This paper explores the expressions of sex and sexuality in the contemporary art of three Asian nations: Japan, China, and South Korea. The paper also looks at public and critical reactions to such works of art, in order to gain insight into the role sex and sexual art play in Asian cultures. The paper then points out that to a Western viewer, images of sex in contemporary Asian art are often shocking in their explicitness or sheer strangeness. The paper explains that once we begin to understand the context in which it has emerged, the representation of sex in contemporary Asian art is analogous to our own in the Western world. The paper concludes that sex is clearly a universal area of interest for artists from all over the world. While some nations, such as the Japanese, are free to explore the subject in all its glorious, perverse, and occasionally horrific detail, other nations punish their artists for making the most minor transgressions.
From the Paper
"In Japanese art, what comes across as shocking to an American audience does not necessarily seem so to the Japanese themselves. This is because the Japanese do not carry the burden of Christian guilt, nor have they been influenced by the Puritan ideals that continue to surface in American discourse. Indeed, the Japanese have a much more open attitude towards sex than any other nation in Asia. Sex in art, however, is often used to challenge accepted modes of discourse in Japanese culture, and is thus considered to be a tool of dissent. This is particularly true for Japanese women artists who wish to challenge the Confucianist idea of women as submissive beings."
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Influences of Ancient Egyptian Art on Ancient Greek Art, 2005.
A paper on how Egyptian art influenced Greek artists.
1,350 words (approx. 5.4 pages), 5 sources, MLA, $ 47.95
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Abstract
This paper provides a discussion of the long tradition of the influence of ancient Egyptian art on ancient Greek artists. The paper looks at how the art of both are affected by their societies' world views. The paper discusses the primary functions of Egyptian art and the different style of Greek art, particularly in relation to depiction of figures.
From the Paper
"This paper compares ancient Egyptian art with ancient Greek art and considers the ways in which the Greeks were influenced by Egyptian art. Egypt established a long and enduring artistic tradition. Greek art drew heavily on that background, using many of the same kinds of subjects and incorporating many similar symbols but then reinterpreted them through very different eyes and a strikingly different cultural perception. Both visions continue to have a profound impact on artists in modern cultures from their representation of everyday life to the varied..."
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Art Found: The Database as an Alternative Art Space for New Media, 2001.
A different perception for databases and their potential.
3,010 words (approx. 12.0 pages), 10 sources, MLA, $ 88.95
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Abstract
This paper covers many complex ideas relating to the way that we view databases in our culture. It proposes that the database will be the canvas of the future for artistic and cultural exploration. This paper also includes many references from leading scholars in the field.
From the Paper
"Hail, hail to the menu driven computer interfaces that we have come to expect. These well made navigational systems of logical menus and clearly written labels, three button mice and ergonomic keyboards give us one of the most important technologies of our time the human computer interface (HCI). The HCI and the Graphical User interface (GUI) have been thought about and redefined as every new piece of computer hardware and software have been created. (The terms HCI and GUI will be used interchangeably as we are addressing the notion of interface.) The creation of the HCI has now mostly become the task of the new media artist. This becomes a very limiting constraint on the artist when the interface is the only element of a new media object that has any hope of becoming seen as a relevant area to create art. There are at least two other clearly definable media objects, the data and the database. I will focus here on the database. It is my contention is that a new media art piece can consist solely of a database without the need for the involvement of an interface. "
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African Rock Art, 2008.
Looks at African rock art as true art.
1,545 words (approx. 6.2 pages), 9 sources, APA, $ 50.95
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Abstract
This paper argues that African rock art is both art and ethnographic records, created by hunter-gatherers, herders and later farming communities five or six thousand years B.C. The paper relates that rock art includes rock engravings (petroglyphs) and rock paintings (pictographs) depicting comparable themes and images but traditionally present a limited number of details and human figures. The paper describes the techniques used in creating the art and contends that African rock art is art because art is in the perception of an individual. The paper includes color pictures, map and graphs.
Table of Contents:
This is Art?
Ethnographic Records
This is Art
Rock Art Links
The Rock Art Research Institute's Perceptions
This is Art!
Complicated Pictures?
Perceptions
From the Paper
"Ethnographic records or rock art, created by hunter-gatherers, herders, and/or later farming communities, is displayed in the majority of Africa countries. Southern African rock-art, however, traditionally records experiences reflecting the belief systems and rituals of the indigenous people of their particular region. Although a minimum of 14,000 sites are currently on record, more exist, not yet formally recorded and projected to exceed 50,000 sites in the Southern African region."
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Gilman and Social Conformity, 2006.
This paper explores the struggles of feminist author Charlotte Perkin Gilman to break free from the male-dominated social norms in the late 19th and early 20th centuries.
1,417 words (approx. 5.7 pages), 3 sources, MLA, $ 47.95
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Abstract
This paper examines the birth of the women's movement by focusing on the late 19th and early 20th centuries, which is seen as one of the most volatile yet progressive times in the social progress of women.
The writer of this paper discusses the life and writings of author Charlotte Perkins Gilman who, despite her eventual success in breaking free of men's expectations of her, underwent a struggle to break free from social norms similar to that of many women of her time. This paper details the deplorable manner in which Gilman and other women were treated for post-partum depression, at the time known as hysteria or melancholia. The writer describes how womanhood of the period symbolized the Protestant order of religion, faith, sacrifice and hard work. Manhood, on the other hand, began an era of exploration, ruggedness and decadence.
From the Paper
"Although Gilman did not finish her treatment with Mitchell, many affluent and middle-class women, including Jane Addams, did follow the doctor's advice. While it is more than likely that only small numbers of women met the fate of the protagonist of The Yellow Wallpaper, the effects the treatment and the hysteria were similar in their detrimental effects. For suffering women, the rest cure meant giving up individual interests and goals and resigning themselves to the traditional male construction of the proper female social role. While women on the rest cure experienced isolation and a push towards the standard of womanhood, Mitchell's male patients were encouraged to pursue "the west cure," which involved going west to a ranch to ride horses, fish, hunt, and search for individual identity."
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Art as a Mirror of Society, 2008.
This paper examines two works of art, the "Venus of Willendorf," a prehistoric artifact, and Manet's "Paris" in order to discuss how humans define art and the meaning of art.
6,805 words (approx. 27.2 pages), 23 sources, APA, $ 154.95
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Abstract
This paper looks at how people view art. It states that when viewing any work of art, one immediately begins to make sense of the image in terms of how it relates to the world one knows, as well as what one has been taught about history. Not only does society seem to influence the ways in which art is produced - society is often reflected in the works of art itself. Along these lines, this paper aims to answer the question of whether or not people use ancient artifacts that pre-date written culture as a means of "reading" the society that existed during that era. In the case of ancient artifacts such as the "Venus of Willendorf," ultimately modern analysis can only guess by relating the piece's history to modern ideas of what gender might have signified to ancient prehistoric civilizations. However - in the case of Manet - people are able to get a better view of the ways that society and art impacted one another through the use of primary and secondary sources. In contrast between the Venus and Manet's pieces, it can be said that the relationship between art and society is in fact conditioned by a third factor, which is the main subject of this paper - that of history. Without all the written records of the 19th century that have been kept, people might have no way of knowing what they are looking at when they study a Manet painting. Furthermore, "works" - or, perhaps more aptly, artifacts - such as the Venus thus cause people to reconsider what the true definition of art is.
Outline:
The Venus of Willendorf: Women in the Stone Age
Manet's Paris
Women in Manet's Art
Conclusion
From the Paper
"Manet's painting was firmly rooted in Paris of the mid-19th century. It is thus not difficult for us to get a glimpse of what society was like in that time and place by looking at Manet's paintings. Looking at the Venus of Willendorf, however, does not tell us anything about the society that it is a relic of. It thus requires us to use our intellects and our imaginations in order to piece together an explanation that might satisfy us personally, but can never be held up as a firm example, as we can with Manet's paintings. Thus, it can be said that the relationship between art and society is in fact conditioned by a third factor, which has been the main subject of our inquiry - that of history. Without all the written records of the 19th century that have been kept, we might have no way of knowing what we are looking at when we study a Manet painting. This truth comes to the surface when we look at the Venus, which comes from a period that pre-dated all known forms of writing."
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Outsider Art, 2005.
This paper discusses the history and future of the term "outsider art", referring to art, made by self-taught artists, which stands outside the realm of "fine" art.
3,015 words (approx. 12.1 pages), 10 sources, MLA, $ 88.95
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Abstract
This paper explains that "outsider art", also called naif, naive or art brut, is collected by the most well-known collectors; therefore, the question arises when something becomes popular or "in" does it continue to be "outside"? Can "outsider art" continue in the years to come? The author points out that, for example, after World War I, the cultured in Europe began developing an interest in self-taught creators called "naives", such as Henri Rousseau, who were creating their artistic works throughout Europe especially France. The paper presents many examples of "outsider art" in the U.S., including Mexican-American, jailhouse and street art, some of which has entered the realm of collectors and museums, while other artist prefer to remain "Outside Art".
Table of Contents
Introduction of Thesis Statement
Introduction of Terms Based on Dubuffet and Cardinal
Move from Europe to United States
Definition of Outsider
Examples: Slaves, Mentally Ill, Spiritual, Folk, Recycled
Response to Thesis Statement
Conclusion
From the Paper
""Outsider art" continues to evolve along with changes in society. A new form of work, for example, called "recycled folk art," transform pieces of trash into new treasures. In Mexican-American Texas communities, houses are adorned by objects, colors and symbols that reflect a history over the past to present days. Many of the visually rich barrio decorations are made from everyday castoffs such as Styrofoam cups, tires and tile chips. Brightly colored trucks and cars, tree swings, and televisions act as shrines to the Virgin of San Juan. Windmills and whirligigs are made from soda cans, butterflies from scrapped tin and muffler robots from used auto parts."
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Fifteenth Century Art of the Netherlandish Region, 2002.
This paper discusses the development of art in the Netherlandish region during the fifteenth century and the influence this art had on European art in the centuries to come.
3,111 words (approx. 12.4 pages), 6 sources, MLA, $ 90.95
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Abstract
This paper examines the art of the Netherlandish region during the fifteenth century and suggests that, contrary to common scholarly opinion, the art of this region was important not only from the perspective of how it related to contemporary art in Italy, but, in its own right, was possibly one of the most important moments in Western art history. Also examined are the inventions, innovations, and impact Netherlandish art had the development of European art.
From the Paper
"Nevertheless, the depiction of the world was an unusually strong preoccupation of the Netherlandish painters. Among those artists who worked in the early part of the century, the output of the Tournai painter Robert Campin (c. 1378-1444) and that of the Master of Fl?malle, is sometimes regarded as distinct and sometimes as the work of one individual."
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Ethnicity in Modern Jewish Art, 2002.
An exploration of 20th century Jewish art.
1,700 words (approx. 6.8 pages), 1 source, $ 55.95
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Abstract
This paper studies 20th century Jewish art, focusing on signs of ethnicity. Works are analyzed for evidence of explicit ethnicity and references to 20th century Jewish history. The paper looks at the work of Moritz Oppenheim, the works of European Jewish artists, Max Beckmann?s picture entitled ?The Synagogue? and Israeli art. It also touches on Jewish theatre and folk stories and explores Jewish ethnicity in U.S. artists. It concludes with a summary of the transformation of Jewish art over the 20th century.
From the Paper
"The process of acknowledging, gathering, reviewing, researching, and elucidating Jewish art, was initiated around a hundred years ago, as it continues to date. The basic purpose behind studying the Jewish Art was to safeguard the ethnic legacy of the nation, and to sustain a promising resource for the revitalization of Jewish lifestyle. Be it in the customary, ceremonial, or conventional perspective, the Jewish art history is noteworthy to understand the future of Jewish works of art."
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"The Spirit of Our Time" and the Dada Art Movement, 2002.
This essay examines the origins of the unconventional Dada art movement. These pioneers of the avant-garde thrived for a few short years after World War I before splintering into several groups in the early 1920s.
1,115 words (approx. 4.5 pages), 4 sources, MLA, $ 38.95
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Abstract
The Dada art movement was about using protest, confrontation and chaos in the arts as a way to change an unjust society recovering from the horrors of World War I. By explaining the origins of the Dadas and looking at their most famous sculpture, "The Spirit of Our Time", this essay explains how the Dada artists were making direct challenges to modern culture and technology long before it was fashionable.
From the Paper
"By the late 19th century machine technology was everywhere, available to millions, and part of humanity?s daily existence. The products of machines, such as giant structures and trains, planes, and automobiles, were infinitely more ?useful? to people than traditional art had ever been. Some artists became envious of scientists and wanted to match their achievements, and some scientists wanted to be thought of as artists."
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