Julie Mehretu makes huge scale, gestural works of art that are developed through layers of acrylic paint on canvas overlaid with imprint making utilizing pencil, pin, ink and thick floods of paint. Her work passes on a layering pressure of time, space and put and a breakdown of recorded references, from the dynamism of the Italian Futurists and the geometric deliberation of Malevich to the concealing size of Abstract Expressionist shading field painting. In Mehretu's very worked canvases, she makes new stories utilizing dreamy pictures of urban communities, histories, wars, and geologies with a frantic imprint making that for the craftsman turn into a method for meaning social organization and additionally recommending an unwinding of an individual
In the etching, most of the people are unaware of the others. At the center, a partially dressed woman raises her arms and leans forward as if to display her body; in the foreground, another woman is reaching out to the clothesline, and right above her head shows a male figure’s silhouette, facing the windows across away. “Its subject is certainly voyeurism, but who is the voyeur? The man on the roof, the artist, the picture's viewer, or all three?” ( Zurier, 281) Looking at the work, it is hard to determine who is the spectator and who is being spectated, as the relationship between them is intricate and interactive. Here, Sloan not only portrays his observation, but also critiques the action of urban watching
These assemblages of work mirrror a reflection of glimpses of landscape beauty, a particular solace found in the nature surrounding us during her time in the outback, elegance, simplicity and the lifestyle of the physical world around us. Gascoigne has an essential curiousity displayed in her work exploring the physical word that is captured in an essence of this rural home which brings evocate depictions, subject to the arrangement of these simple remnants that offer so much more. The assemblages focus us on viewing the universe from a unique turnpoint, compromising of corrugated iron, feathers, worn linoleum, weathered fence palings, wooden bottle crates, shells and dried plant matter. The art works offer a poetic expression that traces remnants around the world that individually hold meaning to their placement in the
Widely respected throughout America, Anna Quindlen is a notable author and columnist who jump started her career as a part-time reporter for the New York Post at the age of 18. After earning her B.A. degree at Barnard College, New York City, Quindlen upgraded to positions as a general columnist, and later deputy metropolitan editor, for the New York Times. Her biweekly column, “About New York,” resulted in her becoming the third woman in all history of the Times to write a regular column for the exclusive and elite op-ed page. Quindlen then went on to receive the Pulitzer Prize for Commentary in 1992. From essays to children’s books to semi-autobiographical novels, Quindlen has been putting her thoughts down on paper for as long as she can remember -- a habit that has certainly paid off, as evidenced by her incredible success. This writer’s duty is to pass on the advice and
In her article “But What Do You Mean” Deborah Tannen, claims that there is a huge difference in the style of communicating between men and women. Tannen breaks these down into seven different categories; apologies, criticism, thank-yous, fighting, praise, complaints, and jokes. With each of these she compares men to women by explaining the common misconceptions that each of the genders do. The different style of communication can cause some problems at the workplace and even affect the environment. The different styles of communication has been around forever and almost becomes a “ritual”(299). Tannen is effective with mainly women and not men. She is primarily successful with women due to the fact that her tone targets women, also the organization
In 2011, Donna Hicks wrote her book Dignity: The Essential Role It Plays in Resolving Conflict. Hicks’ Ph.D. in educational psychology and twenty years of experience in international conflict resolution allowed her to write this text about psychological injuries to a person 's sense of self-worth. In her text, Donna Hicks discusses the damaging effects a negative authoritative figure could have, especially on young children and their dignity. Also mentioned is how impressionable children can be and how those impressions can follow them into adulthood. The author’s intended audience appears to be anyone interested in remedying their psychological injuries and improving their sense of self-appreciation. Hicks’ reasoning for composing this text
Both Deborah Miranda and Haunani-Kay Trask use their poetry to assert the treatment of their ancestors and peers as a direct result of colonization. Miranda, a Native American writer and poet, has ancestors from the Esselen and Chumash people, tribes native to California. She also has French and Jewish ancestry as part of her lineage. Trask, a Native Hawaiian, serves as a diplomat and activist for indigenous Hawaiian natives. While Native Hawaiians and Native Americans have vastly different cultures and backgrounds, there are many similarities between these two groups of indigenous peoples simply because of one key connection: the colonization of their land by white people. Native Americans and Native Hawaiians did not simply lose their
Patricia Hill Collins outlines the existence of three different dimensions of gender oppression: institutional, symbolic, and individual. The institutional dimension consists of systemic relationship of domination structured through social institutions, such as government, the workplace or education institutions. In other words, this dimension explains “who has the power”. This is completely related to a patriarchal society. Patriarchy is the manifestation and institutionalism of male dominance. This means that men hold power in all institutions, while women are denied the access to this power. The symbolic dimension of oppression is based on widespread socially sanctioned ideologies used to justify relations of domination. It reflects inequality
When first approaching this work, one feels immediately attracted to its sense of wonder and awe. The bright colors used in the sun draws a viewer in, but the astonishment, fascination, and emotion depicted in the expression on the young woman keeps them intrigued in the painting. It reaches out to those who have worked hard in their life and who look forward to a better future. Even a small event such as a song of a lark gives them hope that there will be a better tomorrow, a thought that can be seen though the countenance by this girl. Although just a collection of oils on a canvas, she is someone who reaches out to people and inspires them to appreciate the small things that, even if only for a short moment, can make the road ahead seem brighter.
With the desire to escape the misery of her everyday life style, Yayoi Kusama releases her feelings through her outstanding works of art. Whether you are looking at her canvasses, walking through her installations or witnessing a happening performance, Kusama’s work leads any viewer to step into a world that is more than just an exhibition, but is a world and life of hallucinations. Yayoi Kusama’s unique style of art has made her a noteworthy artist in contemporary art today. With a concentration on polka dots, or how the artist would call “infinity nets”, Yayoi Kusama reveals her hallucinations of life through her massive amount of pattern. With her obsessive nature and background of personal traumas, Yayoi Kusama aims to eliminate the world in her form of art. This research paper will explore how the thoughts in her mind have led her to create the fascinating, polka dot themed, art work she is well known for.
According to Tatlin, avant-garde artists transfer ideas of social reality of his modernity and Gabo claimed that it was relevant in the spirit of an epoch to substitute static mass with a dynamic form. Even though both Tatlin and Gabo’s work were influenced by conceptually different beliefs, their works are both represented abstractly. Works Cited Avant-Garde – Abstraction in Constructivism: Vladimir Tatlin's 'The Monument to the Third International'. Available from: http://www.suite101.com/content/avantgarde-abstraction-of-constructivisma115053#ixzz1Cbu82a75>.
The Russian Revolution energized the artists to expand their social influence to produce statements that could inspire human aspirations. Rodchenko and El Lissitzky approached their avant-garde art practice in visually similar ways, but theoretically they varied considerably. Victor Margolin (1997) explored the two artists’ principal approaches to building their art and their commitment to the political influences of the time within his first essay in The Struggle for Utopia. Rodchenko felt the objects produced should ‘both facilitate change in people, making them more ideally Soviet, as well as represent Soviet ideals through their materials and construction’. Both artists sought to design architectural structures. Rodchenko was a Constructivist who strove to produce new, functional, material objects. His designs were not constructed around aesthetics; they were intended to be a catalyst for social change. Works like The Fut...
People should be recognized according to their accomplishments. If someone wins a Nobel Peace Prize or wins gold at the Olympics, then they deserve to be praised for their efforts. Nonetheless, someone who has barely accomplished anything can actually be worthy of praise also. How is this possible? If only there was such a person that could pioneer this paradoxical task. But there is. Her name is Jennifer Bobylev and she is an ordinary teenage girl. She might be overly concerned with her looks but that is normal for teenage girls. She is still in high school and has no major life accomplishments to speak of. However, her character, values, and dedication to family and friends, make her someone deserving of praise.
This essay will initially address how art history has been discussed by feminist historians in the latter part of the twentieth century. It will then discuss two pairs of mutually contemporary works of art whilst attempting to introduce concepts into the discussion of the works themselves, in order to point to differences or similarities in technique, form and style, and ways to approach an analysis of the work. Finally a conclusion will be drawn on the importance of the role of gender arising from the discourse.
Over the course of three years and through the three protagonists featured, viewers are shown what it’s like living in a poor, yet beloved community fabricated from these artists' very time and hands that is soon to be destroyed when the government sells the land to wealthy developers. As the eviction approaches we are witnesses to the manipulations of powerful intuitions, the struggles that parallel with unconventional and unsupported career paths, but mostly, we see what this community and their art provides—a rarity that remains true and constant throughout: beauty, love, and dedication.
William, SR. 1984."Primitivism" in 20th century art: affinity of the tribal and the modern, Volume 1. New York(N.Y.): Museum of Modern Art.