| Papers [1-15] of 100 :: [Page 1 of 7] | | Go to page : 1 2 3 4 5 6 7 —> | Search results on "OBJECT ART": |
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Women as Sexual Objects in Art, 2002.
The paper discusses whether artists in general and Cindy Sherman, in particular, have moved away from accepting women as sexual objects towards giving them an autonomous identity.
1,236 words (approx. 4.9 pages), 4 sources, MLA, $ 42.95
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Abstract
The paper analyzes a photograph by Cindy Sherman, based on Raphael's
famous portrait "Fornarina". It argues that while the original painting depicted women as "possessed" by men and therefore "owned" by the painter, the modern-era version de-objectifies the feminine form and gives women a sense of self-identity. The paper clarifies this point by pointing out that the model of the picture is also the photographer.
From the Paper
"In the view of Kate Linker (1983), there has been of late, a shift in the way we conceive of texts. We have moved, to a degree, away from the expressionist model, ?based on an expressive self and an emphatic reader, who reduplicates preconstituted meanings (1983, p. 391).? This shift further moves the reader or, in the case of the visual arts, the viewer, away from a fixed ideology which renders meaning as timeless and immutable rather than as shifting or in process. Linker (1983) suggests that in most representational visual art, there are abundant forms in which the very apparatus or content of work constitutes subjects as male, positioning women as unauthorized and illegitimate and as represented rather than representing."
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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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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 Masks, 2003.
An analysis of the African Sowei mask as an object of art.
690 words (approx. 2.8 pages), 4 sources, MLA, $ 23.95
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Abstract
This paper analyzes the African Sowei mask. It discusses the object as art and as a reflection of the spiritual and cultural values of the community. The author also mentions the connection to African aesthetics and reproduction.
From the Paper
"African art combines the visual image with spiritual beliefs and social purpose. As an art object the mask is a piece of sculpture that represents the cultural attitudes embodied in the meaning or content of the object. The image of the Sowei mask carved in ..."
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Kazimir Malevich and Piet Mondrian, 2008.
An examination and comparison of the views of Kasimir Malevich and Piet Mondrian on the relationship between non-objective art and spirituality.
1,308 words (approx. 5.2 pages), 6 sources, MLA, $ 44.95
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Abstract
This paper explains non-objective art and then compares and contrasts how Kazimir Malevich and Piet Mondrian expressed their perceptions of the intimate connection between the spiritual and the non-objective through their writings and their paintings. The author concludes that Malevich tended to link non-objective artwork explicitly with western, organized religion; while Mondrian favored a more diffuse type of spiritualism reminiscent of eastern religions.
Outline
Introduction
Part I: Malevich's "take" on the Relationship between the Spiritual and the Non-Objective
Part II: Mondrian's "take" on the Relationship between the Spiritual and the Non-Objective
From the Paper
"Ultimately, what Malevich was really after - certainly in his "Suprematist" work - was to strive after something more ethereal and to leave the "earth" behind. Suffice it to say, this striving after the metaphysical, along with the perception that non-objective art could uncover a new kind of logic, hearkens back to spirituality in the sense that religion also demands that people disassociate themselves from the flesh, live for the world beyond this one, and put their trust not in humanism or in common logic but in a faith or "beyond reason-ness" that relies on intuition more so than anything else."
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?The Birth of Tragedy? by Friedrich Nietzsche, 2004.
This paper discusses lyric (objective art) versus Homerian (subjective art) poetry in Friedrich Nietzsche?s ?The Birth of Tragedy?.
1,320 words (approx. 5.3 pages), 1 source, APA, $ 44.95
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Abstract
This paper explains, in his ?The Birth of Tragedy?, Nietzsche focuses on the concept that art is perceived as subjective or objective based on the categories that qualify a work of art as ?subjective? or not. The author points out that Nietzsche establishes the argument that literary poems, though works of art that convey intense feelings and profound thought, are not a subjective form of art because they derive from music, an element in human culture derived from a structured system of symbols. The paper counters that the seemingly objective form of Homerian poetry, though epic, is considered more subjective because Homer portrays events in early human civilization through simple language and illustrating images.
From the Paper
"To further illustrate and argue his argument that lyric poetry is not a ?subjective? art form, Nietzsche uses Homer?s epic poetry as a counter-example to lyric poetry. Homerian poetry, according to Nietzsche, is an example of an artwork where the Self and the creation are united; thus, Homer?s epic poetry is an example of a subjective artwork. The German philosopher compares lyric poetry with that of epic poetry, which he termed as ?Apollinian? poetry?: ?But what is the folk song in contrast to the wholly Apollinian epos? What else but the perpetuum vestigium of a union of the Apollinian and the Dionysian? is testimony to the power of this artistic dual impulse of nature?? "
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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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The Pop Art Movement, 2009.
This paper explores Andy Warhol's art in the context of Marcel Duchamp's artistic works.
776 words (approx. 3.1 pages), 4 sources, MLA, $ 27.95
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Abstract
The paper shows how Marcel Duchamp paved the way for the acceptance of Andy Warhol's work by redefining what was considered art. The paper describes how Duchamp took several everyday objects and combined them in an unexpected way, while Andy Warhol's work transformed ordinary objects into art. The paper points out the similarities and differences between the two artists' style of art.
Outline:
From Readymades to Soup Cans
Defining the Pop Art Movement
From the Paper
"Andy Warhol's work transforms ordinary objects into art that summarizes the industrialization that permeated his society. Perhaps the most poignant proclamation by Warhol was his painting of 50 soup cans. This symbolized the uniformity and confines of modern society. Each of the cans was an individual in its own right, but in mass, the individuality disappeared. Duchamp paved the way for the acceptance of Warhol's work by redefining what was considered art .
"Duchamp's 'Readymades' radically changed ideas about what art is and what art is not. Duchamp used ordinary, mass produced objects placed in gallery spaces. One of the most controversial examples of this type of redefinition of a common object was his rendition of a urinal, which he creatively redubbed "The Fountain." . Transforming ordinary objects into an art form exemplifies a key similarity between Warhol and Duchamp."
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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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Contemporary Art: A Reflection, 2009.
The paper examines contemporary art as an art form that is relevant to a specific place or time rather than being universal.
960 words (approx. 3.8 pages), 2 sources, APA, $ 34.95
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Abstract
The author of this paper discusses contemporary art in the light of a course taken in college. The writer of the paper states that contemporary art is art that is uniquely self-conscious of its time, that it is art that does not aspire to be universal or to offer abstract ideals about truth, but instead speaks about a particular aesthetic or moment in time. In an attempt to prove the validity of his statement, the author examines the works of a number of contemporary artists.
From the Paper
"Likewise, Barbara Kruger's feminist use of collages, one of which proclaims to the viewer that 'your body is a battlefield' takes photographic images and superimposes ironic labels on top of those images in a way that demands the viewer question his or her assumptions about gender. Work like Kruger's shows how new ways of creating art, namely film, photography, and video, began to flourish at the same time as contemporary art, and many contemporary artists have used new technology to further question what is art, and the ways that art can be created. It can be striking to see what is assumed to be 'real,' namely a photograph, deconstructed and reconstructed, as it is in some of David Hockney's works. This can be, to some extent, even more startling than some of Warhol's deconstruction of advertising and celebrity, although Warhol also embraced film towards the end of his career as part of his artistic project."
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