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Survival of the fittest summary
Survival of the fittest summary
Analyzing island civilization
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Recommended: Survival of the fittest summary
American artist, Walton Ford’s 2009 ‘The Island’ (Source 1) depicts a disturbing pyramid of Tasmanian Tigers, or Thylacines, as they are also known, in a hostile situation of survival. This painting’s central drama contradicts Darwin and Wallace’s 1858 ‘Theory of Evolution by Natural Selection’, as man and his agricultural practices intruded the habitats of many native flora and fauna, leaving the tigers vulnerable. This struggle, or ‘survival of the fittest’, left the tigers defenseless as they had not adapted to man’s hierarchy, which in turn lead to their violent extinction by the early 20th century. Ford’s paintings are known for their harsh critique of how humanity treats nature, the history of politics, natural science and industrialism using complex narratives (artnet 2013). The bloody image portrays the physical and psychological savagery of both man and beast.
“My idea was to make an island out of thylacines and killed sheep—they’re not on an island; they are the island—and to have it sinking beneath the waves. I want it to be a brutal picture of thylacine bloodlust, a blame-the-victim picture, a sort of fever dream of the Tasmanian settler alone in the bush with these animals, although there was never any evidence of one killing a human being, and very little evidence of their eating sheep.” (Ford to Tomkins, 2009)
The artwork uses the mediums of watercolour, gouache, pencil and ink on three large pieces of paper. The main colours of the composition consist of yellow ochre and raw umber, giving the artwork an overall pale yet sinister tone. The foreground is quite busy with your eye being directed in a diagonally linear fashion from the bottom right corner to the top left corner through the direction of the tiger’s bo...
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...idges Acquires New Work by Walton Ford. Retrieved February 27, 2014, from http://artdaily.com/news/35737/Crystal-Bridges-Acquires-New-Work-by-Walton-Ford-#.Uw78CCjrfLg
• Board of Studies NSW. (2006). OUTCOMES and CONTENT. Creative Arts K-6 Syllabus (pp. 24, 28-31, 46-53). (Original work published 2000). Retrieved from http://k6.boardofstudies.nsw.edu.au/wps/wcm/connect/ce0d0525-fb53-44db-b4bb-f9d252549824/k6_creative_arts_syl.pdf?MOD=AJPERES.
• Source 2- GTG Publishing. (2013, November 8). White and Reddish Egret – Illustration by John James Audubon circa 1840. Retrieved March 16, 2014, from http://ctgpublishing.com/?attachment_id=13177
• Source 1- snurfson (2011, January 19). Walton Ford’s paintings of the beast kingdom [Web log message] [Web log message]. Retrieved March 16, 2014, from http://www.lypophrenia.com/2011/walton-ford’s-paintings-of-the-beast-kingdom/
From an early age the artist felt ostracized from nature and his only connection to wild life was through the natural museum of history and his uncle’s house, which was filled with taxidermy. His parents were divorced and his father suffered from alcoholism. His tough childhood forced Walton Ford to find humor in the challenging aspe...
The island is about 4 square miles and is today a place for tourism in the great lakes. Many thousands of years ago though this was a little piece of land with bluffs reaching high above its surroundings and was a merely a small piece of land surrounded by water. It was because of these bluffs the appearance of the island resembled a turtle and led to it being named “The Great Turtle” (Piljac, 1998). Currently the island reaches several hundred feet above the lake and it’s because of this geography that many nations saw this as a perfect military post and would be used over and over again throughout its history as such.
This idea is expressed prominently in John Foulcher’s For the Fire and Loch Ard Gorge. For the Fire entails a journey of someone collecting kindling as they witness a kookaburra kill a lizard, Foulcher represents his idea through the use of metaphor, “a kookaburra hacks with its axe-blade beak.” This metaphor represents the beak in weaponised form, as it is compared with a violent axe. This evokes a sense of threat and intimidation towards the kookaburra, which contrasts to societies general interpretation of the ‘laughing kookaburra,’ thereby challenging the reader's perceptions of beauty in the natural world. Also, this comparison of the kookaburra offers a second understanding for the readers to interpret of the kookaburra. Similarly, in Loch Ard Gorge, Foulcher uses strong visual imagery, “savage dark fish are tearing their prey apart, blood phrasing the water decked with light,” to communicate the violence of the ‘savage’ fish to readers in a visual, gruesome manner. Thereby evoking a feeling of disgust towards the situation, as a visual description of blood is shown and Foulcher uses provoking, gruesome adjectives to communicate the fish's brutality. Foulcher expresses these ideas to communicate the abilities of nature, and provide a necessary ‘reality check’ for the readers, to review the beauty they see nature and understand the barbarity at the heart of everything. Although ruthlessness and brutality that nature can show are unintentional and immoral, this harm is a large part of the cycle nature needs to survive and thrive, and these factors can counteract assumed beauty and
A small child views a painting, giggling to his mother how it looks like an elephant soaring throughout the galaxy. An hour later a middle age man views the exact painting only to acknowledge the abstract painting as a collage of miscellaneous shapes and colors. This view is much like the comparison between John James Auburn and Annie Dillard passages, revealing opposite and similar aspects on the subject of birds.
There is a lot of repetition of the vertical lines of the forest in the background of the painting, these vertical lines draw the eye up into the clouds and the sky. These repeated vertical lines contrast harshly with a horizontal line that divides the canvas almost exactly in half. The background, upper portion of the canvas, is quite static and flat, whereas the foreground and middle ground of the painting have quite a lot of depth. This static effect is made up for in the immaculate amount of d...
In “The Most Dangerous Game” by Richard Connell, the protagonist (Rainsford) struggled with the actions of the antagonist (General Zaroff) throughout his adventure. The images used to describe the island, deadly swamp, and castle show that it is inhabited and a dangerous place with the use of setting, imagery, and the tone Connell shows Rainsford’s difficulties, persistence, and triumph to the audience. By using these key aspects, Connell makes important connections to the theme while alluding to hunting as the main concept of this whole adventure.
Holcomb, Sabrina. "Arts Education." Rss. National Education Association, 17 Jan. 2007. Web. 10 May 2016.
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.
This piece is acrylic, oilstick, and spray paint on wood panel that is 186.1 centimeters in height and 125.1 centimeters in width. This piece features a human-like figure in the center that is mostly half red and half black. This figure has a gray head with one yellow eye and one light gray eye and above its head is a black halo. The background consists of patches of various colors such as light blue, black, dark red, light green, beige, turquoise, pink, and yellow. On the bottle left corner there is a figure drawn that looks like a fish and has a strip of mustard yellow painted through it. Also towards the bottom right of the artwork, there is some drawn on letters that almost look like words but are messily painted over with a desert sand color. This piece is my favorite because I find it aesthetically pleasing. There is a lot going on in this piece that makes looking at it genuinely interesting. The colors that Basquiat choses for the background go very well together and overall compliment the figure in the center. I like how incredibly expressive this piece is and it makes me want to buy a canvas and start painting that I desire. I also like how the human-like figure is drawn. One could see what looks like an outlined ribcage on the figure, which makes me believe that the head is actually a skull. Upon further research I learned that Basquiat was
The first artwork I chose for the formal analysis project is The Tiger by Ito Jakuchù originally painted in 1755. This painting is of a tiger licking its paw in the grass underneath a tree branch. There seems to be two diagonal planes as the tiger is leaning forward and sitting erect. There is a horizontal plane from what appear to be branches above the tiger. The painting has asymmetrical balance as the elements are equally distributed to balance the top and the bottom of the space. The artwork demonstrates several types of line. There are curved lines used in the tiger’s stripes. There are also diagonal, vertical and horizontal lines used in the background for the grass and the overhanging tree branch. The curved and wavy lines used in the tiger’s body, for example in the shoulder muscles, imply movement in addition to the curve in the tiger’s tail. The color scheme used in this painting seems to be complementary to one another as the artist used orange and brown tones with blue and red-orange accents for the tiger’s eyes and tongue. Black is used throughout the p...
Sporre, Dennis J. The Creative Impulse: An Introduction to the Arts. 4th ed. Upper Saddle River, NJ: Prentice Hall, 1996. 310-378.
Soon after, many visitors began coming to the cave. What was it these people were so excited to see? When visitors first entered the cave they had to go down a twenty-meter slope, which led to the first hall, The Great Hall Of Bulls. The first thing they saw in the Great Hall of Bulls were the black bulls. Attention is quickly focused on them because of their great size compared to the other paintings. Also found in the Great Hall of Bulls are pictures of horses, deer, a small bear, and a primitive unicorn. “The strange so-called Unicorn appears to be walking towards the interior of the cave.
Creativity is greatly influenced by how acceptable and desirable it is seen by individuals who otherwise may settle for different priorities. Many educational facilities extend students concerns toward certainly important subjects such as math, english, language and social studies. Unfortunately, subjects that assist both individuality and creativity such as music or fine arts courses are often not given the attention they deserve. Readily available, but rarely taken seriously when compared to other subjects or extra curricular activities, fine arts becomes a less important study. Schools should create a good balance between academics and fine arts. Most projects that school boards take on limit themselves to standardized testing and ways of
"Why Arts Education Is Crucial, and Who's Doing It Best." Edutopia. N.p., n.d. Web. 20 May 2014.
The Reggio Emilia approach endorses children’s sensory development by promoting hands-on discovery experiences in the curriculum that are derived from children’s interests (Russell-Bowie, 2012; Twigg & Gravis, 2010). Vecchi (2010) and Mai (2011) believe that by incorporating children’s interests in multi-sensory activities through Creative Arts offers more learning opportunities for children to use all senses and languages to demonstrate their knowledge and understanding of the world around them. This is evident when children articulate ideas and make meaning by dancing, drawing, role playing, singing and sculpting; meeting the EYLF outcomes 3.2.5 and 5.3.3 (DEEWR, 2009). Furthermore, ACARA (2017f, v.8.3) states that the Australian curriculum builds on the EYLF by engaging students’ minds, bodies and senses in purposeful and creative play throughout each strand of The Arts