Considering and evaluating ideologies of the works of Nikos Gyftakis, Vincent van Gogh and Willie Bester on the final piece, “Shitezenship” Art pieces often acquire influence from either various artists, or merely one. In the case presented above, it can, however, be stated that various artists sagacious influence on the pieces; highly contributed to the overall outcome of the pieces. The choice of these artists rely highly on their stylistic choices, as well as their ideologies and inspiration behind their pieces. The artists who inspired the piece “Shitezenship” to a considerable degree, are Nikos Gyftakis, Van Gogh and Willie Bester. These artists’ influences can be explored in the following ways: To start with, are the creations of Nikos …show more content…
He uses the leftovers of a society which he outlines in order to retrace the political history of South Africa. Like an archaeologist, Bester reconstructs the fabric of this history to uncover the hidden faces of the South African townships. His works are vivid collages, juxtapositions of odds and ends, of rubbish found in the townships: shoes, bones, tin cans, newspaper clippings, pages of books, scrap metal, and many other ‘leftovers’. Small metal tiles and objects are fused into a remodelled and reshaped “skin.” Utilitarian objects are re-contextualised into relief works or monumental freestanding figures with forceful messages, for example, the Security Guard so familiar to anyone accustomed to the South African urban life. While the figure’s uneasy stance, sideways glance and partially exposed skeletal frame of cogs and bolts convey an underlying tension. This can be indicative of profound and complex paradoxes in a capitalist …show more content…
The flowers, in this case, has a symbolic representation of the blood and hard work the citizens of the country put into the progression (red in colour and agricultural connotation). The people are too busy staring at their tremendous work and effort, that they often miss the real motifs and corruption of the ruling government. The reason why these flowers are roses in particular and not red poppies as in Van Gogh painting, is because of the fact that every rose have a thorn, and thorns can make you bleed, or thorns can mean the corrupted that want to be seen as
Many of these artists' works contain subtle hints to the author's opinion on the subject. By analyzing their central compositional effects, the viewer can obtain a greater appreciation and understanding for the art.
In eight quasi-connected stories, Susan Vreeland delivers a fictional lesson on aesthetics. Set amidst human sorrow and historic chaos, the narrative follows an imagined Vermeer painting from the present day through 330 years of its provenance--beginning with its willful destruction in the 1990s and concluding with its inspired creation in the 1660s:
Coming from a family greatly involved in art dealing, Vincent van Gogh was destined to have a place in the world of art. Van Gogh’s unique techniques and use of color, which clashed and differed greatly from the masters of the art world of his time, would eventually gain him the recognition as one of the founders of modern art. Van Gogh’s early life was heavily influenced by the role of his father who was a pastor and chose to follow in his footsteps. Although he abandoned the desire to become a pastor, van Gogh remained a spiritual being and was strong in faith. Plagued with a troubled mind and poor health, van Gogh’s life became filled with torment and isolation that would influence his career in later life as an artist. In his late twenties, van Gogh had decided that it was God’s divine plan for him to become a painter. His works would express through thoughtful composition and vibrant color, the emotions that he was unable to manifest in the real world. Van Gogh’s perception of reality and his technique would face harsh criticism and never receive full acceptance from his peers as a serious artist during his brief career. In a collection of correspondence entitled The Letters of a Post-Impressionist, Vincent confirmed these thoughts while writing to his brother Theo, “It irritates me to hear people say that I have no "technique." It is just possible that there is no trace of it, because I hold myself aloof from all painters” (27). His technique would later be marveled and revered by the art world. Vincent van Gogh’s legacy would thrive as it challenged the way the world envisioned modern art through his unique brush strokes and profound use of color as seen in his works The Sower and The Night Café. A brief look into...
In the Enseigne, art is also shown to serve a function that it has always fulfilled in every society founded on class differences. As a luxury commodity it is an index of social status. It marks the distinction between those who have the leisure and wealth to know about art and posses it, and those who do not. In Gersaint’s signboard, art is presented in a context where its social function is openly and self-consciously declared. In summary, Watteau reveals art to be a product of society, nevertheless he refashions past artistic traditions. Other than other contemporary painters however, his relationship to the past is not presented as a revolt, but rather like the appreciative, attentive commentary of a conversational partner.
Flowers can be seen to represent emotions that are felt when opressions on women are seen. Poisonous flowers represent the determination that these women use to find a better life in this society
In this paper, we will focus on examining Vincent’s painting, Starry Night. The paper will begin with a short introduction about Vincent where an analysis will be conducted to explore more into the painting. Subsequently, the paper will move on to explain how Starry Night impacted the wider histories of art and the period where it was created. Lastly, The paper will further examine two accounts or interpretations of Starry Night from art historians.
This act of creativity involves effort, toil, inspiration, failure, and is accompanied by the scorn and criticism of others who do not understand, as Arthur Koestler puts, the bisociative connection the artist makes in his inspirati...
I have kept for twenty years a tattered and stained copy of a Matt Groenig cartoon entitled “How to be an Artist in Torment.”The cartoon asks if you were sickly, peculiar, alienated, or picked on as a child and, if so, did that make you feel superior? Another cell catalogs the requisite psychological impediments of the creative personality—rage, confusion, and self- doubt—and describes the proper look to emulate: an “overall postpunk neobeatnik semidisheveled drab yet hip look.”The cartoon portrays the artist’s studio companions as lice and rats. Finally, it asks if you are thin and exhausted from staying up nights fretting over an idea, or in a related vein, “Can drugs really be considered art supplies?” What Groenig laughingly and lovingly describes is the romantic stereotype known in France as les peintres maudits, or “accursed painters.” It’s a syndrome, however, that extends easily to writers, musicians, and performers. Art historian Douglas Hall describes the four key attributes of the doomed creative genius: alienation, poverty, weakness, and brilliance—the latter being essential if one is not to pass into historical obscurity. The twentieth century is littered with such talented and troubled souls: Jim Morrison, Jackson Pollack, Dylan Thomas, Warhol, Judy Garland, and Van Gogh. Yet the uncontested high priest of the syndrome is Amedeo Modigliani.
The article Artists Mythologies and Media Genius, Madness and Art History (1980) by Griselda Pollock is a forty page essay where Pollock (1980), argues and explains her views on the crucial question, "how art history works" (Pollock, 1980, p.57). She emphasizes that there should be changes to the practice of art history and uses Van Gogh as a major example in her study. Her thesis is to prove that the meaning behind artworks should not be restricted only to the artist who creates it, but also to realize what kind of economical, financial, social situation the artist may have been in to influence the subject that is used. (Pollock, 1980, pg. 57) She explains her views through this thesis and further develops this idea by engaging in scholarly debates with art historians and researcher, and objecting to how they claim there is a general state of how art is read. She structures her paragraphs in ways that allows her to present different kinds of evidences from a variety sources while using a formal yet persuasive tone of voice to get her point across to the reader.
Goldwater, Robert and Marco Treves (eds.). Artists on Art: from the XIV to the XX Century. New York: Pantheon Books, 1945.
Vanitas, found in many recent pieces, is a style of painting begun in the 17th Century by Dutch artists. Artists involved in this movement include Pieter Claesz, Domenico Fetti and Bernardo Strozzi . Using still-life as their milieu, those artists and others like them provide the viewer with ideas regarding the brevity of life. The artists are giving us a taste of the swiftness with which life can fade and death overtakes us all. Some late 20th Century examples were shown recently at the Virginia Museum of Art in Richmond, Virginia. Among the artists represented in this show were Miroslaw Balka (Polish, b. 1958), Christian Boltanski (French, b. 1944), Leonardo Drew (American, b. 1961), Felix Gonzalez-Torres (American, b. Cuba, 1957- 1996), Jim Hodges (American, b. 1957), Anish Kapoor (British, b. India, 1954), and Jac Leirner (Brazilian, b. 1961).
Dear Dr Helen Aveyard (Editor, Journal of Advanced Nursing), As the Editor of the Advanced Journal of Nursing, I wish to bring to your attention a matter that I believe will be of relevance to you and readers. This matter underscores the impact on comprehensive nursing practice and underscores the necessity for facilitating discussions on policy changes aimed at enhancing practice standards and improving patient experience. I am a second-year BSc (Hons) nursing student deeply concerned about the critical issue of safe staffing of wards in healthcare settings. This issue came to my attention during my clinical placement. Through my experiences in clinical placements, I have witnessed the impact that inadequate staffing levels have on patient
“In a decaying society, art, if it is truthful, must also reflect decay. Moreover, unless it wants to break faith with its social function, art must show the world as changeable. And help to change it.” This quote by Ernst Fischer, a German composer, means that truth in art exposes the parts of society, and of life, that no one wants to see. In order for art to change society, it must first reflect the fears and failures of its people. The artist can change how people think of themselves and the world by using less conventional methods of creating art. The artist, in doing this, introduces new ideas of human placement in time and space, new frontiers of thought, that are furthered by the disciplines of science and philosophy. The artist works to introduces unique- and sometimes offensive- ideas so that society will be exposed to new ways of thinking and understanding the world. The artist does this through experimentation with color, style, and form. Therefore, the purpose of the artist should be to challenge how individuals perceive themselves and the offensive aspects of society reflected in art to bring about innovations in the greater society.
"Quotations by Subject: Art." The Quotation Page. QuotationsPage.com and Michael Moncur. Web. 23 Feb. 2015. .
Through these early stages of art discussed above, it shows how the foundation for today’s modern works was laid out. They show how art has developed from simple cave paintings, to the tremendous force in society that it is today.