Someone has crafted a dense, human-size spider web in a 17th-century baroque chapel. At the center of the swarming thread, a longhaired woman lies in a hospital bed, sheet to her chin. Silence, light filtering from stained glass, and her stillness trapped in the maze reminds the viewer of some old dada wisdom -- any work of art that can be completely understood is the product of a journalist.
Down the hall, in a large room, a young German is rushing around in a white jumpsuit. He alternately plays with toy airplanes and bakes cakes in a microwave, which every hour on the hour he blows up.
These exhilarating works of art from Chiharu Shiotta and Frank Werner were at the Irish Museum of Modern Art in Dublin recently, part of a show called "Marking the Territory." The images were compelling enough, but the real strangeness was that they were happening in Dublin at all.
For centuries, the visual arts in Ireland ran a distant second due to the superiority of the Word. But no longer. "This is an ideal place for an artist to be," Paolo Canevari said. The young Roman was represented at IMMA by "Differences," seven people on a bench on whose foreheads he methodically rubber-stamped religious denominations. "The Irish aren't jaded. There's no boredom with art."
Even Dublin's stinging humor, a style that is distinguished by an urchin's allergy to the sentimental and a duty to bring everything down to street level, has softened toward the public art of the city. The statue of the River Liffey, personified as a woman in a fountain, is still known as "The Floozy in the Jacuzzi," and a realistic sculpture of two middle-age women taking a rest from shopping will forever be "The Hags With the Bags." And what else could a giant metal spike proposed for the north side be called but "The Stiletto in the Ghetto?" These days, however, all street titles are said with affection and pride.
Every nation prizes creativity. But countries such as Ireland, which for so long had little but creativity, revere it. It is now museums, galleries and artistic work that are embraced, and not just the theater, pub wit and the writer.
One of the engines of Dublin's artistic boom is IMMA, only 10 years old yet housed in one of the most magnificent 17th-century buildings in the world, the Royal Hospital, Kilmainham. Formerl...
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...ight to $1,725 for the penthouse suite. Full service, excellent restaurant and a great bar for people watching.
The Pembroke Townhouse (90 Pembroke Rd., telephone 011-353-1-660-0277,www.pembroketownhouse.ie) is a marvelous, immaculate Georgian house in Ballsbridge, close to everything on the south side, with a cheerful and efficient staff. Rates run from about $90 to $120 per night.
WHERE TO EAT: Restaurant Patrick Guilbaud (21 Upper Merrion St.) has spectacular art on display along with the best French cuisine in Dublin. Appetizers run from $14 to $30, entrees from $35. Trocadero (3 St. Andrew's St.) -- "the Troc," near Temple Bar -- is a great old-time theater restaurant, with late suppers and superior bar food until midnight. It's recently been refurbished and crisped up, but they left the sense of fun intact. Two can have a memorable Italian meal and a bottle of red for about $60.
INFORMATION: For more information, contact the Irish Tourist Board, 800-223-6470, www.ireland.travel.ie; or, in Dublin, the Bord Failte (Gaelic for "board of welcome"), Baggot Street Bridge, telephone 011-353-1-602-4000.
-- Ambrose Clancy
© 2002 The Washington Post Company
I observed a very unique series of photographs by Vik Muniz called Seeing is Believing. Vik Muniz’s images are not simply photography but are pictures of complicated pieces of art he has produced at earlier times. Utilizing an array of unorthodox materials including granulated sugar, chocolate syrup, sewing thread, cotton, wire, and soil Muniz first creates an image, sculpturally manipulates it and then photographs it. Muniz’s pictures include portraits, landscapes, x-rays, and historical images.
To know how to prevent bullying, it’s important to note when these actions first become visible. It can be seen that bullying occurs most often in schools, then at work places. It is known that many schools stress and make efforts to stop bullying because younger kids are more susceptible to bullying. They have more difficulty defending themselves. However, this is not always the case. For example, “[…] the Columbine school shooting tragedy - highlight the serious and sometime deadly consequences of bullying behavior” (American Physiological Association). The teens who were involved in the shootings were bullied and decided to take revenge which led to the killing and injures of many people. In order to prevent further problems related to bullying, it’s important to spread the word. It’s true that bullying is already commonly known, but the health effects to it and especially the genetic effects are not. Spreading these ideas around might just bring in light for many to take serious action because of the implications it has to not just the ones being bullied, but also to the future generations to come. Although bullying may never actually be gone, these acts to prevent it will help lower and limit the amount of
During the beginning stages of the Great Migration period the South inhabited 90 percent of the African American population by the year 1900. Jim Crow practices and ideologies were in full effect and sadly many poor colored individuals suffered at the hands of the white man. Lynchings, assault, murder, and corrupt law making was considered a daily practice amongst white southerners up to this point in time for one sole purpose, and that is to make any successful colored person struggle by any means necessary. According to Kevin Boyle, “white [individuals] thought black life exciting because it was ‘primitive’ and ...
In George Orwell 's "Nineteen Eighty-Four," the main storyline revolves around a dystopian society whose self-thought has been corrupted by an over empowered governing body. Orwell’s intention was to bring Hitler’s ideas to life. Smith is a middle-aged frail man who is ambivalent towards his government, however is unable to resist the strength of the indoctrination he has been subjected to, during the entirety of his life. As the reader progresses through the novel, ideas of totalitarianism are illustrated throughout the story via Smith’s internal and external conflicts with his government. It quickly becomes apparent that there is an uncopiable amount of government power which is something that is seen as early as the second paragraph. Propaganda
Although they needed African Americans for their factories and work ethics they did not agree with them having the same rights or sharing any rights with them. They wanted them just to work for them and have authority over African Americans. The more Africans Americans populated their living area, the more whites felt upon to call for action. For example whites wanted to feel much superior...”African Americans had to step off the sidewalk when a white person approached”(Digital Collection for the Classroom). This quote illustrates how whites did anything in their power to feel superior. The Great Migration caused whites to fear and enable them to more injustice actions. Although the Great Migration did benefit many African Americans in certain aspects it also crated unintended consequences. Due to the large growth of the African-American population there was an increasing competition amongst the migrants for employment and living space in the growing crowded cities of the North. Besides, racism and prejudice led to the interracial strife and race riots, worsening the situation between the whites and the African Americans. Racism became even more of a national problem. The Great Migration intensions were to let African Americans live a better life style economically wise and help them from poverty not cause even more issues with racism or become competition against others. Because many white people did not want to sell their property to African Americans, they began to start their own exclusive cities within that area of sell. These exclusive cities were called the “ Ghetto”(Black, 2013). The ghetto was subject to high illness, violence, high crime rate, inadequate recreational facilities; lack of building repairs, dirty streets, overcrowded schools; and mistreatment from the law enforcement. Although the ghetto cities helped unify African Americans as
Garrett, Peter K., ed. Twentieth Century Interpretations of Dubliners. Prentice-Hall, Inc. Englewood Cliffs, New Jersey: 1968.
In their article, “The Creativity Crisis”, authors Po Bronson and Ashley Merryman explore the urgency of the downfall in the public’s “creativity quotient.” Bronson and Merryman emphasize the necessity for young children to be imaginative. Through an IBM poll, they verify that with the decrease of creativity in our society comes an array of consequences seen in the work field. The authors remind readers of another reason for the importance of creativity; they argue that creative ideas can solve national matters. Hence, Branson and Merryman believe that original ideas are key for a better world. Though I concede that creativity is a vital key to the solution of many national problems, I still insist that teaching creativity,
Bullying will forever plague schools all throughout the world, and it is important to know ways in which the authorities of a school and parents can help stop the affect that bullying has on society, and keep children’s life safe and happy. A higher quality of life for students will provide them with less stressful lives and prevent many of the problems, such as depression and suicide, which can oftentimes be linked to childhood violence.
“With the growth in arts activity, there has come a need for specialized information on how to manage the arts industry.” (Rosewall, p. 1) The definition of “art” is changing. The introduction of technology has introduced various platforms that make the arts appeal to a broader audience. Naturally, one must find a way to maintain order in the field due to the the rapid increase in the possibilities. This is where arts management comes into play. Multiple factors go into running a successful business in the art industry. The paragraphs below explore key concepts via answering the following questions : What is art? How are arts and entertainment related? Is it possible to connect
The questionable influence and dominance of western culture is at the forefront of a new form of seemingly ephemeral diplomatic history that is termed ‘new internationalism’. Internationalism itself is not really a new concept, and is basically a system based on equality for all people and cultures on a global scale. In the global art world ‘new internationalism’ is an active topic and was the focus of a 1994 INIVA Symposium entitled, A New International Symposium. The topics discussed included: Recording the International; Art, History and the Modern Museum; Beyond Diversity and Difference; Curatorship and International Exhibitions.1 During his lecture at the symposium, sculptor, essayist and poet Jimmie Durham puts forth the idea that, “…Europeans seem to think that, as art is their invention, effective art is within a developed vocabulary and accent…”2 This kind of statement emphasizes the enormous task of disuniting ‘actual’ art history from that recorded under the influence of western culture, and it demonstrates the long-standing influence of imperial thinking.
In this notable Ted Talk video "Do schools kill creativity?", Sir Ken Robinson discusses how public education systems demolish creativity because they believe it is essential to the academic growth and success of students. Robinson created a broad arrange of arguments to persuade the viewers to take action on this highly ignored issue, and he primarily focuses on how important creativity is. There are classes within schools that help utilize creativity, but they are not taken seriously by adults in society. Therefore, the value of creative knowledge decreases. Robinson uses an unusual combination of pathos and ethos to make an enjoyable dispute for implementing an education system that nurtures rather than eats away at creativity.
Joyce’s portrayal of Dublin in Dubliners is certainly not one of praise or fanfare. Rather, Joyce’s Dublin is a slumbering and pathetic portrayal of a metropolis in which her citizens cannot exercise the ability to break free from the city’s frigid grasp. Therefore, the Dubliners struggle to carve out a distinct identity that contains meaningful aspects of human life. Somerville states that “Dublin has suffered a sickness of the heart,” an assentation that certainly captures the undertones of paralysis in Dubliners (Somerville 109). If it is indeed true that Dublin has lost her heart, she has also lost important emotional contexts that help sustain one’s livelihood. Without a heart, Dublin becomes a city “locked in place” with inadequate chances for forward progress from a socioeconomic perspective (Somerville 112). Yet, if Dublin’s heart is sick, it is only logical to assume that a “cure” is needed; the “cure” that the Dubliners seek, is money. As a result of Dublin’s paralysis and subsequent lack of basic societal values, Dublin’s citizens utilize money as a means of escaping the city in order to fully exercise their selfhood and free-will, which is compromised
Writing enables James Joyce the power to belittle not only Dublin, but to express his lack of affiliation with the Catholic Church. In Dubliners, Joyce paints the picture of a town filled with greed, both sexually and financially. He takes the definition of religion and turns it on itself. Joyce shows no mercy on his path to ridicule Dublin’s pride and historical roots. In a number of the stories Joyce depicts man as an infection in Dublin. Most of the time men will be at fault or the root of a problem. Joyce also has little difficulty writing about an imperfect Dublin, one that when spoken about only draws countless gasps.
Caves, R. E. (2000). Creative industries : contracts between art and commerce / Richard E. Caves. Cambridge, Mass. ; London: Harvard University Press.
The capital of Ireland is Dublin. Their flag is divided into three equal parts of green, white, and orange. Their population is 4,109,086 (July 2007 est.). The official languages of Ireland are English and Irish, also known as Irish Gaelic. %100 of the population speak English with about %80 speaking Gaelic.