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Recommended: The relationship between art and history
Public art is art in any media that has been planned and executed with the intention of being staged in the physical public domain, usually outside and accessible to all. The concept of public art is one that has arguably been around for as long as art has. Some early examples of public art are pieces such as the statues of the pharaohs of ancient Egypt, the Parthenon, or even Mount Rushmore in the United States. This public art is monumental and iconic. It seems like history public art has been a way to commemorate leaders, whether they be religious or political. Or even as a place of worship, such as the Old St. Peter’s Basilica, the Hagia Sophia or the Parthenon. In the 20th century, though, public art really came into its own. Artists began …show more content…
Another good example of public art is Henry Moore’s Two Large Forms from the 1960’s that resides in Grange Park, a large metal sculpture that literally depicts two large forms that seem to be interlocking with each other. This paper will focus on the similarities and differences of these two examples of Toronto based public art. To begin, there are many similarities and differences between the event Nuit Blanche and Henri Moore’s Two Large Forms. The most obvious is the fact that Nuit Blanche is an event that contains many artworks by many artists, while Two Large Forms is a single artwork by a single artist: Henri Moore. As stated, Nuit Blanche is an event with a variety of installation and performance work in the streets for guests to experience. The focus of the event is to have the public experience the city transformed by artists, as well as to bring the community together. Though the focus of Nuit Blanche and Two Large Forms is not completely the same is still serves the same purpose. Two Large Forms currently resides in the Grange park beside the Art Gallery of Ontario, and …show more content…
The idea of public art beautifies neighborhoods, while bringing a community together. Nuit Blanche falls under bringing a community together, while Two Large Forms is more for the neighborhood, considering it’s a permanent piece instead of an overnight event. There is little to be said about Two Large Forms, as it simply that. Though, the same is not said for Nuit Blanche. Yes, the event is all fun and games for the people of Toronto, although the event is the cause of serious economic gain for Toronto. The sundown to sunup up event is so popular amongst Toronto’s public that approximately 300 000 people attending in 2016, including 204 000 out-of-town guests, it also generated an economic impact of 43 million dollars for Toronto (History). This model similar to the famous Art Fair. Paco Barragan, author of Introduction to The Art Fair Age, states, ““Experience economy” is a concept that has found its way in recent years. Basically this is an economy whose growth is propelled by a search for memorable experiences orchestrated by forward-thinking and inventive companies.” (121). Though Barragan is referring to the popular Art Fair, this doesn’t sound too far off from the mandate of events like Nuit Blanche. He continues to say, “This idea of “staging the unexpected” is explained clearly by Joseph Pine II and James H. Gilmore, authors of The Experience Economy, which states
African American people have encountered political, social and economic challenges that have, in many ways, shaped the way they think and perceive the issues that surround their race from the time of slavery to this day. As a way of fighting disadvantages and injustice, African Americans such as WEB Dubois and Alain Locke have introduced their philosophical views and studies of that African American race and the racism that has oppressed them for decades. In this paper, I’m going to introduce a short biography of the African American philosophers WEB Du Bois and Alain Locke compare and contrast their approaches to philosophical issues pertaining racism.
“Introduction to Modern Art.” metmuseum.org. The Metropolitan Museum of Art. 18 June 2009. Web. 25 Sep. 2009.
Art is a window to the past and there is no place other than the many museums of the world where this is more strongly felt. More specifically, it is also seen through Martin de Soria's work, The Altarpiece of Saint Peter, which was completed around 1480.
The Museum of Contemporary Art Detroit (MOCAD) had three different artists work on display. It was split up into three different rooms the first room was Design 99 To Much of a Good Thing and in the next room is Latoya Ruby Frazier Mother May I and in the last room was Jef Geys Woodward Avenue. The art that was on display was not traditional art work. All of the artist’s work displayed in the Museum of Contemporary Art Detroit was out of the box thinking. The flow in each exhibit made it easy to move from one piece of art work to another piece of work.
The notable French-Canadian abstract expressionist Jean-Paul Riopelle is known for his signature large-format mosaic composition to establish explosive engagement. The monumental Chevreuse II (Figure 1) in his Mosaiques series was created during 1953 to 1954, measured in 3m x 3m. This work is currently on exhibit at the Art Gallery of Ontario (AGO). The AGO decided to put up a co-exhibition of Riopelle and his romantic partner Joan Mitchell’s works, and titled the exhibition Nothing in Moderation.
Tennessee Williams has become one of the best known literary figures on the American Scene and also one of the most controversial. A Streetcar Named Desire is a 1947 play opened on Broadway on December 3,1947, and closed on December 17, 1949, in the
In today's rough and tough world, there seems to be no room for failure. The pressure to succeed in life sometimes seems unreasonable. Others often set expectations for people too high. This forces that person to develop ways to take the stress and tension out of their lives in their own individual ways. In the plays "The Glass Menagerie" and " A Streetcar Named Desire" written by Tennessee Williams, none of the characters are capable of living in the present and facing reality. Two of the characters are Amanda Wingfield and Blache Dubios. In order for these characters to deal with the problems and hardships in their lives they retreat into their own separate worlds of illusion and lies.
Tennessee Williams wrote about Blanche DuBois: 'She was a demonic character; the The size of her feelings was too great for her to contain without the escape of the madness. Williams uses Blanche DuBois as a vehicle to explore several themes. that interested him, one of these being madness. His own sister, Rose,.
The growth of art in Canada has played a pivotal role in the development of Canadian culture. An individuals ability to connect themselves to their country has increasely been linked to artistic works and their representation of national ideals. Earlier pieces such as After the Rain by Homer Watson represent an artistic sense of agrarian society, which later shifted to an increasely modern perspective through the work of the Group of Seven. Group member Arthur Lismer’s, A September Gale, reflects represents a dramatic departure away from earlier styles of panting and its representative ideals feed into a similar vision the North portrays for Canada.
The characters in “A Streetcar Named Desire”, most notably Blanche, demonstrates the quality of “being misplaced” and “being torn away from out chosen image of what and who we are” throughout the entirety of the play.
There are thousands of types of art work all over the world including mural art which is one of the oldest types of art, painted on walls and ceilings that are usually filled with many different colors. Murals show hope, values and memories of the community. Public art is outside of the gallery or museum, public art exist outdoors. It shapes are abstract, realistic, built, etc. Public art is can express community values, and enhance the environment. However, as our evolving culture of technology increase, more of those mural art, and public art are vanishing in the eyes of the people.
The Art Nouveau style and movement, at its height between 1890 and 1910, enabled a sense of freedom for both its artists and the public as a whole. It offered strikingly original ideologies and transformed both the artistic and the mundane world alike with common characteristics like curvilinear shapes and a sense of the return to the natural and to nature as well as being at the crux of a fundamental change in how artworks were mass produced. The Art Nouveau style seemed to walk between the two worlds: it was simultaneously fantastical and grounded in reality and there was no artist in the period that was better equipped to “know and see the dance of the seven veils,” (Zatlin) than Aubrey Beardsley. It is impossible to fully discuss the value
In 'A Streetcar Named Desire' we focus on three main characters. One of these characters is a lady called Blanche. As the play progresses, we gradually get to know more about Blanche and the type of person she really is in contrast to the type of person that she would like everybody else to think she is. Using four main mediums, symbolism and imagery, Blanche's action when by herself, Blanche's past and her dialogue with others such as Mitch, Stanley and the paperboy, we can draw a number of conclusions about Blanche until the end of Scene Five. Using the fore mentioned mediums we can deter that Blanche is deceptive, egotistical and seductive.
Barnett, Peter. “The French Revolution in Art”. ArtId, January 7th 2009. Web. 5th May 2013.
In A Street Car Named Desire, the whimsical dialogues that Blanche Dubois embarks on throughout conversations with characters such as Stella and Stanley, work in tandem to leave the victims distraught by verbal lashes and painstakingly ardent dissertations of there personal motives for continuing to travel down the various dissipate inroads of there life. The often-demoralizing manner in which Blanche convolutes the actions of these characters, seemingly labels her with the nominal reputation as the two-faced, conflicted observer. There is the depiction of a critically honest blanche who will speak her mind in a manner that is oblivious to the thoughts and feelings of her recipients, vs. the caricature of an innocent, delirious blanche, whose deliberations delude and shroud her ability to maintain a unaltered, open-minded consciousness when engaging in conversations with characters. However, amidst Blanches barrage of demoralizing criticism that leaves her victims in a dumbfounded manner, she presents her critiques with painstakingly well-acclimated spurs of unrepressed honesty that brandishes her assertions and accompanies them with an intrinsically meaningful compassion that at times is mistaken by other characters to be uncultivated regressions of disenchanting rancor, vehemence, and indignation expressed towards the welfare and manifestos of the characters she is persistent upon contending with.