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Recommended: Ap art history chapter 11
Art History Summary The Atlantic’s article “Rewriting Art History” by Jacoba Urist, discussed the change of the AP course, art history, to revise the racial and cultural bias’ found in the art world. The author elucidates the racial divide in AP art history is caused by the lack of significant cultural artworks. The College Board held a meeting to ration the art history curriculum, instead of a largely Eurocentric focus, but target on more substantial art cultures. This leaves more opportunity for teachers to discuss the “definition of art, how it changes, and why particular artworks acquire meaning”, all subjects that are required by higher college courses. Jacoba Urist reminds the reader women and colored artists aren’t usually in history
Born in 1951 in Osaka, the third largest city in Japan, Yasumasa Morimura is a Japanese artist who has become well-known for his captivating and elaborate portraits which emulate iconic art historical images as well as aspects of mass media and popular Western culture. He is able to realistically slide into the roles of art historical icons such as the Mona Lisa as well as prominent actresses such as Marilyn Monroe through extensive preparation. A majority of his portraits deal with issues such as cultural and sexual appropriation as well as the multifaceted, complicated relationship between Japan and the West. Costumes, makeup, props, and digital manipulation are used to produce provocative, large-scale self-portraits which challenge these
You will choose and closely evaluate three pieces of art (paintings, poems, music, etc.) from black artists, using the information in Hughes’s essay as the basis of your evaluation and analysis. First, you must provide an in-depth analysis of the selected art pieces. Then, you should determine whether or not the artists are living up to the roles and responsibilities put forth by Hughes, using textual evidence from his essay to support your evaluation of the
Crooked Beak of Heaven Mask is a big bird-figure mask from late nineteenth century made by Kwakwaka’wakw tribe. Black is a broad color over the entire mask. Red and white are used partially around its eyes, mouth, nose, and beak. Its beak and mouth are made to be opened, and this leads us to the important fact in both formal analysis and historical or cultural understanding: Transformation theme. Keeping that in mind, I would like to state formal analysis that I concluded from the artwork itself without connecting to cultural background. Then I would go further analysis relating artistic features to social, historical, and cultural background and figure out what this art meant to those people.
The first painting analyzed was North Country Idyll by Arthur Bowen Davis. The focal point was the white naked woman. The white was used to bring her out and focus on the four actual colored males surrounding her. The woman appears to be blowing a kiss. There is use of stumato along with atmospheric perspective. There is excellent use of color for the setting. It is almost a life like painting. This painting has smooth brush strokes. The sailing ship is the focal point because of the bright blue with extravagant large sails. The painting is a dry textured flat paint. The painting is evenly balanced. When I look at this painting, it reminds me of settlers coming to a new world that is be founded by its beauty. It seems as if they swam from the ship.
In “Is Art a Waste of Time?” Rhys Southan examines Effective Altruists’ (EA’s), an organization that advocates people to pursue a career that provides money for generous donations (Southan). Southan also explains how EA’s believe that it is an ethical choice in giving up one’s hobbies to increase their income for those living in extremities (Southan). Despite the EA’s view of ethical standards, there are many variations of what people consider to be right and wrong behavior. Jobs such as being a teacher, a doctor or an artist, all have related ethical principles in which could define how moral a person is in their occupation. An ethical career is one that allows a person to have integrity, compassion and passion when helping others.
Imagine pondering into a reconstruction of reality through only the visual sense. Without tasting, smelling, touching, or hearing, it may be hard to find oneself in an alternate universe through a piece of art work, which was the artist’s intended purpose. The eyes serve a much higher purpose than to view an object, the absorptions of electromagnetic waves allows for one to endeavor on a journey and enter a world of no limitation. During the 15th century, specifically the Early Renaissance, Flemish altarpieces swept Europe with their strong attention to details. Works of altarpieces were able to encompass significant details that the audience may typically only pay a cursory glance. The size of altarpieces was its most obvious feat but also its most important. Artists, such as Jan van Eyck, Melchior Broederlam, and Robert Campin, contributed to the vast growth of the Early Renaissance by enhancing visual effects with the use of pious symbols. Jan van Eyck embodied the “rebirth” later labeled as the Renaissance by employing his method of oils at such a level that he was once credited for being the inventor of oil painting. Although van Eyck, Broederlam, and Campin each contributed to the rise of the Early Renaissance, van Eyck’s altarpiece Adoration of the Mystic Lamb epitomized the artworks produced during this time period by vividly incorporating symbols to reconstruct the teachings of Christianity.
In the University Of Arizona Museum Of Art, the Pfeiffer Gallery is displaying many art pieces of oil on canvas paintings. These paintings are mostly portraits of people, both famous and not. They are painted by a variety of artists of European decent and American decent between the mid 1700’s and the early 1900’s. The painting by Elizabeth Louise Vigee-Lebrun caught my eye and drew me in to look closely at its composition.
In education today, art studies are not often viewed as a priority for students and they very frequently get cut from school’s curriculum due to a lack of proper funding. Howeve...
In the early twentieth century, it was nationally debated as to whether or not Negro art was a category of art in the United States. Even for some today, it remains a debate. George Schuyler, Langston Hughes, and W.E.B. DuBois, all had strong arguments for the concept of “Negro Art” in the mid-1920s. After reading the essays of each writer, each one offers a different perspective. Their arguments help to build off one another and to counter argue with one another. Negro Art is very much alive in America; and it deserves to be respected as American Art without leading to the stereotypical absolute difference between the white and black races. The art piece I selected is a fist painted by an Upper School Art 1 student at McDonogh School, that
1. Earlier this semester I went to have a look around the Oklahoma City Museum of Art. Unlike my many previous trips to the museum, the trip I took on September 7th was very different, my friend Griffin and I were on a serious mission. From our favorites we sought out the perfect piece of art to write an essay about. Upon entering the Hall of European Art, I gazed up at one of my favorite paintings in the museum’s permanent collection; A Portrait of Sarah Siddons. During my time in high school, I went to the museum on several occasions, one of which was for an event hosted to help AP art students find the right college. Although I had no intention of attending a university for the pursuit of artistic studies, my visual arts teacher urged me
Artists associated with the Black Arts Movement promoted the notion that art should serve the needs of the African American community, while challenging white hegemony and the oppression of African Americans (Wofford). Despite having similar, yet thoughtful views on black supremacy, much like that of authors from the New Negro Movement, the “Black Power Concept” of the Black Arts Movement had ...
In today’s society anything can be considered “Art”. From the great sounds of a symphony, to the architecture of a modern structure, or even an elephant painting with its trunk, art is what the viewer perceives it to be. Individuals will always agree or disagree with the message behind a certain piece of art, as pieces can be offensive to some, but beautiful to others. Some argue that funding the arts in school is a waste of money, time, or a combination of both, but the benefits outweigh the negatives by far, due to a variety of reasons.
In, “Art History and the Politics of Empire,” Matthew Rampley argues that the prevailing narrative surrounding the influence of the Vienna School on the discipline of art history, has been one that links the genesis of the school to the creation of the “Austrian Historical Research” in 1854; an event which, according to proponents of this narrative, would spur the first generation of Viennese scholars like Rudolf von Eitelberger, and Moritz Thausing . In this mythos, the intrinsic value of the Vienna School lays in its agitation for a paradigmatic shift in the discipline, moving from questions of aesthetic and taste, to an art historical analysis that relied almost exclusively on historiographic sources. However, Rampley challenges this understanding of the Vienna School’s impact, instead proposing that one should consider how the context in which the scholarship of the Vienna School was derived directly impacted the knowledge it produced . For Rampley, works such as Riegl’s Late Roman Art
The subject of art conservation and restoration has long been debated in the art world. Experts and historians have never agreed that all art must be salvaged at any cost. This paper will examine what art conservation and restoration is, what is involved in these endeavors, and what has been done over the centuries to many of history’s cherished art pieces.
DeHoyas, M., Lopez, A., Garnett, R., Gower, S., Sayle, A., Sreenan, N., Stewart, E., Sweny, S., & Wilcox, K. (2005). History of art education, University of North Texas. Retrieved from http://www.art.unt.edu/ntieva/HistoryofArtEd/index.html