Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
How cultural influences apply to art
Cultural influence art
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Recommended: How cultural influences apply to art
In comparing Jonathon Green’s Bessie Mae and John Biggers’ mural, Origins, both paintings are from the same era and represent the African American culture. Jonathon Green’s Bessie Mae was create in 1995 and resides at Winston Salem State University. Origins is a project driven mural requested by Winston-Salem Delta Fine Arts, Inc after a visit to John Biggers’ studio in Houston during 1989 ("Delta Arts Center | The Biggers Mural Project by John Biggers", 2014). Although the emphasis of both paintings has the same cultural focus, similarities and differences in the elements may yield a better understanding of the paintings. Johathon Green and John Biggers are both Southern born gentlemen that use art as a means to portray the African experience. Green was born in Gardens Corner, South Carolina and raised by elders in a rural community ("African American Art -- Jonathan Green" , 2014). He grew up listening to tales and stories that had been pasted down for generations. Greens paintings represent the community as it is today expressing African American life and work. John Biggers, however, dedicated his work to expressing the human condition. Born in Gastionia, North Carolina, he studied at Hampton Institue, and later attended Pennsylvania State University where he earned a Bachelor of Science, Masters and Doctorate ("John Biggers - Biography" , 2014). Both artist draw from their African heritage and express those feelings including the southern experience. Bessie Mae is printed on pure silk and is 42 by 31 inches (“Artist”, 2014). Origins is painted on a custom-made canvas which is three 5 by 30 foot strips ("Delta Arts Center | The Biggers Mural Project by John Biggers", 2014). The Origin’s size makes it difficult to view a... ... middle of paper ... ...ssionism and the work they display are different. The texture, balance, and the use of color are unique to their own personality and experiences. Works Cited "African American Art -- Jonathan Green." African American Art -- Jonathan Green. MOJO Portfolio, n.d. Web. 29 Apr. 2014. . "Artists." Jonathan Green Studios. Jonathan Green Studios, Inc, 1 Jan. 2014. Web. 29 Apr. 2014. . "Delta Arts Center | The Biggers Mural Project by John Biggers." Delta Arts Center. Winston Salem Delta Arts Center, 1 Jan. 2014. Web. 29 Apr. 2014. . "John Biggers - Biography." John Biggers - Biography. Ro Gallery, 1 Jan. 2014. Web. 29 Apr. 2014. .
The October Gallery. (2000, May 19). About the Artist [Online]. Available: http://www.octobergallery.com/sbarnes.htm [2001, March 19].
Kehinde Wiley was born in 1977 in Los Angeles, California. He is a New York visual artist who is known for his highly naturalistic paintings of black people in heroic poses. As a child, his mother supported his interest in art and enrolled him in after school art classes. When Wiley was 12 years old he attended an art school in Russia for a short time. At the age of 20 he traveled to Nigeria to learn about his African roots and to meet his father. He has firmly situated himself within art’s history’s portrait painting tradition. He earned his BFA at San Francisco Art Institute in 1999 and he received his MFA from Yale University School of Art in 2001.
“America's Quilting History: African American Quilting: A Long Rich Heritage”. Womenfolk. Web. 7 March 2011.
Wright, Kai. "Paint Wars. (Youth)." City Limits 1 Jan. 2003. Gale. Web. 22 Apr. 2011.
Art today isn't really thought of as something big or important, but during the Harlem renaissance
"Lynda Barry." Lynda Barry: Spring 2012 Interdisciplinary Artist in Residence. Board of Regents of the University of Wisconsin System, 2012. Web. 24 Nov. 2013.
middle of paper ... ... The Web. The Web. 20 Mar. 2014. The 'Standard' of the 'Standard'.
DeWitte, Debra J. et al. Gateways To Art. New York City, NY: Thames & Hudson, 2012. Print.
Ermel, Debra. "Elgin Artist with a Dream." Illinois History. N.p.: n.p., n.d. N. pag. Print.
Web. The Web. The Web. 07 Mar. 2014. The 'Standard' of the 'Standard JohnMcCaindotcom. The "Compare" - "Compare" YouTube.
The Art Bulletin, Vol. 57, No. 2 (Jun., 1975), pp. 176-185. (College Art Association), accessed November 17, 2010. http://www.jstor.org/stable/3049368.
Whitney Chadwick, Women, Art, and Society 3rd ed. (NY: Thames & Hudson world of art, 2002), 153-160.
Web. The Web. The Web. 06 Mar. 2014. The 'Standard' of the 'Standard'. SOLOTAROFF, PAUL.
The background of this piece is covered with Aunt Jemima advertisements while the foreground is dominated by a larger Aunt Jemima notepad holder with a picture of a mammy figure and a white baby inside. The idea of Aunt Jemima was originally in a Billy American-style minstrelsy song “Old Aunt Jemima” written in 1875. The Aunt Jemima character was prominent in minstrel shows in the late 19th century and was later adopted by commercial interests to represent the Aunt Jemima brand. This figure holds a broom in one hand and a rifle in the other. In front of the picture is a clenched fist. This piece was made during the art movement of the 1070s. The Black Arts movement was an artistic branch of the Black Power Movement. Writer and activist Imamu Amiri Baraka started it in Harlem. Many of the artwork of this movement including literature, film, theater, and music was filled with emotion and anger of the injustices of the time. This assemblage is made out of wood, pictures, figurines, and other household
Pettis, Joyce. “Lucille Clifton.” American Mosaic: The African American Experience. ABC-CLIO, n.d. 1-2. Web. 12 Mar. 2014.