"Art upsets, science reassures" (Braque). Analyze and evaluate this claim.
"Art upsets, science reassures" (Braque). Analyze and evaluate this claim Bakor Al-tayar- At first view this statement can mean that art is not beautiful, and that science is- this view is the opposite of the general view of art and science that people hold. To average people art has the stereotype of being beautiful and soothing; science on the other hand holds the power for destruction. Art is something that is highly subjective and extremely hard to define- yet most objects can be differentiated by most people as being objects of art or mere simple objects. What is to be known is that there are various forms of art- such as paintings, poetry and music. Because of the complexity of the definition of art; the assumption that the reader knows what art is will be done and the definition will not be given. Science is a broad subject as well- there are various types of sciences fitting in three categories, natural sciences, social sciences and mathematics. The sciences that will be observed in the analysis of the given claim are the social sciences, and the natural sciences; as they are different from each other yet are still sciences. Mathematics is only a series of different usages of numbers to resolve problems- which is not a topic known by many although it is still very crucial to our society; thus why it will not be used to analyze the given claim. The final point to
In What Ways Did Art Become More Widely Accessible in England in the Eighteenth Century?
In What Ways Did Art Become More Widely Accessible in England in the Eighteenth Century? In this day and age we take public art displays for granted; every town has its own small gallery and each city has at least one building for the presentation of art works. However, there were no real public art exhibitions until more modern times, with the exception, perhaps, of in Ancient times when the Greeks and Romans would display artefacts and paintings looted from other countries, and decorated the exterior of their buildings with statues. In Europe they were more forthcoming in presenting exhibitions. From the sixteenth century an annual public exhibition of art was held in the Pantheon and in other churches in Italy, although this was designed more to honour the saints than to display art. "In France, Napoleon's plunder of works of art was parade through the streets of Paris in a revival of ancient roman triumph"1. Also in France the French Academy2, exhibited artists' work in order to familiarise French people with French art as a way of allowing the state to manipulate public taste. In Britain however public art display is a more recent idea. In the Medieval period art tended to be commissioned and therefore was rarely displayed, it was also only the wealthy who could afford to buy paintings. After the reformation in the 1500s when England became a protestant country,
in search of the anasazi
IN SEARCH OF THE ANCIENT ANASAZI By Anna Karyl I stand near the boat ramp at Callville Bay on the part of Lake Mead that is situated between Overton and Las Vegas, Nevada. It's a mild, sunny day in spring with a slight breeze, characteristics typical of weather in the southern part of this state. I look out over the brilliant blue expanse of lake waters and wonder about a tribe of Native Americans who once ruled in this part of the world. The Navajo people called them the Anasazi. For centuries, the Anasazi lived in this area, built magnificent homes, traded with other tribes, and created beautiful art objects. But by 1300 A.D., the Anasazi were no more. They had mysteriously vanished from the face of the earth, and scientists are still debating as to why. What do we know about the Anasazi? We know that they are the ancestors of the Hopi people who prefer to call them "Pueblo Ancestors" rather than to use the more dubious Navajo's term which means either "ancient enemies" or "ancient ones." It is clear that the Anasazi disappeared around 1300 A.D. However, there is little data to explain how nearly 20,000 people could simply depart from their home without leaving any traces. Some of the explanations for their disappearance involve drought, war, or migration. But no one knows for sure. Archaelogists have also uncovered a vast array of pottery, jewelry, and
Susan Sontag (on photography) has argued that Diane Arbus's photographs suggest "a world in which everybody is an alien, hopelessly isolated, immobilized in mechanical, crippled identities and relationships". Critically discuss this view of Arbus's work
Susan Sontag (on photography) has argued that Diane Arbus's photographs suggest "a world in which everybody is an alien, hopelessly isolated, immobilized in mechanical, crippled identities and relationships". Critically discuss this view of Arbus's work. On Photography by Susan Sontag discusses in great length the work of Diane Arbus. Because of this it is important to work closely with the book in determining Sontag's main arguments and observations. In her above statement and in the essay Sontag takes the photographer Diane Arbus and raises her to the level of Artist. This is essential if we are to analyse Arbus' work. Her photography is less about technique and more about an artist concept. Sontag in the essay is very much putting forward photography as an artistic medium. What is essential to note when addressing Sontags above quote is that she was comparing Arbus' approach to photography with Edward Steichens. Her comparison quite truly sees Steichen's work portraying the human race living and dying in the same way. His "family of man" exhibition is described as "art that could make human beings aware of their common humanity"1 Sontag is therefore arguing that arbus is the antithesis of Steichen. This is indeed very true and allows us to use Steichen as an opposite in our analysis of Arbus' "Freaks" The Immediate reaction to Sontag's quote is that Arbus's Photographs
How is the technique of movement created in Optical Art? What effects does it produce?
ART How is the technique of movement created in Optical Art? What effects does it produce? With the beginning of the Industrial Revolution in the second half of the 19th century, new art styles and movements appeared and disappeared at an increasingly fast pace, thus reflecting the growing rate of changes in our society. How is movement created in Optical Art? And what effects does it produce? Op Artists, Bridget Riley (1931-) and Victor Vasarely (1908-1997) demonstrates this clearly in their unique paintings, which will be explained in this essay. Optical Art, also commonly known as 'Op Art' is a movement, which was most prominent between the years 1965 and 1968. Op Art first grabbed public attention when an article appeared in Americas "Time" magazine, October 1964, through works that might now be described as 'Op Art' had been produced for several years previously. It has been suggested that Victor Vasarely's 1930s works such as Zebra (1938), which is made up entirely of diagonal black and white stripes curved in a way to give a three-dimensional impression of a seated zebra, should be considered the first works of Op Art. Vasarely was one of the pioneers of Optical art - Op Art - that developed alongside Pop Art in the 1960s. Bridget Riley is perhaps the best known of the Op artists. Taking Vasarely's lead, she made a number of paintings consisting only of black and
"Elaine's art is an outlet for her repressed memories." How far do you agree that this is how Margaret Atwood uses art in her novel?
"Elaine's art is an outlet for her repressed memories." How far do you agree that this is how Margaret Atwood uses art in her novel? Enigmatic and surreal, Elaine's paintings seem to steadfastly resist categorisation, despite the art world clamouring to attach to them pretentious ideological connotations, and Elaine herself mystified as to their significance. However, as the reader - and the protagonist herself - delves into Elaine's harrowing childhood, it becomes evident that the images are in truth pictorial manifestations of repressed traumas bubbling uncontrollably in her subconscious. Intensely personal and deeply allegorical, the images fuse actual memories with the psychological associations that these memories exert, creating a blend of the 'real' and the subjective that offers the reader a unique glimpse into the protagonist's psyche, and demonstrates the true pathos of a character unable to exorcise her past. Elaine herself fails to understand the origin of her creative impulses, replying jadedly 'why does anyone do anything?' when quizzed by a journalist as to why she is compelled to paint. She is also mystified as to the meaning of the objects that she depicts, claiming 'I know that these things must be memories, but they do not have the quality of memories...they arrive detached from any context; they are simply there.' Such self-incomprehension suggests that
Charles Rennie Mackintosh.
Charles Rennie Mackintosh was born in Glasgow on 7 June 1868. He trained as an architect in a local firm and studied art & design at evening classes at the Glasgow School of Art. For 20 years he worked as an architect/designer in Glasgow where all his best known work was created. Much of it is still there today. At art school Mackintosh and his friend and colleague Herbert MacNair met the artist sisters Margaret and Frances Macdonald. These four artists collaborated on designs for furniture, metalwork and illustration, developing a distinctive imagery of weird, abstracted female figures and metamorphic lines reminiscent of Aubrey Beardsley. Their style earned them the nickname of the 'Spook School' and their work, particularly in England, was treated with suspicion because of its decadent influence of Continental art nouveau. At this time Continental Art Nouveau was frowned upon by art critics. The majority of Mackintosh's work was created, with the help of a small number of patrons, within a short period of intense activity between 1896 and 1910. Francis Newbery helped Mackintosh to secure the prestigious commission to design the new Glasgow school of Art(now known as the Mackintosh Building); for Miss Kate Cranston he designed a series of Glasgow tea room interiors and the businessmen William Davidson and Walter Blackie commissioned large private houses, 'The Hill House'
Justification of design choices
Sinthu Singarayer 0B Justification of design choices For this first task I am required to create a web site for the Lancre Festival 2007. To produce this website I must include these 4 pages: * Homepage * Where To Stay * Festival Events * The Purple Spiders The first page otherwise known as the homepage; should have a big heading "The Lancre Festival" it should also have the dates underneath it. One off the requirements is to make sure the heading is colourful so it stands out. I will do this by making the heading a bright orange, and formatting it to make the outline stand out. The heading will be located at the top of the page in the centre, size 36. I also want my background to be eye-catching, original, and attractive, for this I've used a yellow spiral. Stuart also wants the dates underneath the heading; I will do this in a thin margin with the dates centred, black and bold. A short piece on Lancre will be given on disk to me; this will be included in a big box, which takes up most of the homepage. On one half I will copy and paste the text given, (which will be written in the font "Bimini") and on the other half I will include a picture of last year's festival. This is compulsory as it states that at least one picture must be on each page (except the festival events page). At the bottom I will have a list of hyperlinks for each page they will be in a bold
Georgia O'Keeffe
Georgia O'Keeffe (November 15, 1887 - March 6, 1986) Georgia Totto O'Keeffe was born in Sun Prairie, Wisconsin in a farmhouse on a large dairy farm. Her parents Francis Calyxtus O'Keeffe and Ida Totto O'Keeffe were dairy farmers. She was the first girl and the second of seven O'Keeffe children. Education for women was a family tradition. All the daughters but one became professional women, attesting to her influence on them. She attended Town Hall School in Wisconsin and received art instruction from local watercolorist Sarah Mann. When Georgia was in the eighth grade she asked a daughter of a farm employee what she was going to do when she grew up. The girl said she didn't know. Georgia replied very definitely... "...I am going to be an artist!"--"I don't really know where I got my artist idea...I only know that by that time it was definitely settled in my mind." In 1902 her parents moved to Willamsburg, Virginia. Georgia attended Madison High School, and joined her family in 1903. By the age of 16 Georgia had 5 years of private art lessons at various schools in Wisconsin and Virginia. She completed high school as a boarder at Chatham Episcopal Institute in Virginia, graduating in 1905. After receiving her diploma in 1905 she for left Chicago to live with an aunt and attend the Art Institute of Chicago. She did not return to the Institute the following year after a
David Hockney
One of Hockney's first influences was his father with whom he attended much theatre production. In 1950 he saw him paint the interior of his house and was greatly inspired. His farther also taught him to value enthusiasm and the individualistic qualities that Hockney strove to achieve. Although by the age eleven Hockney had decided to become an artist, he felt that there were too many constraints to his progress. At eleven he was unsure as to what the term "artist" actually meant. Whilst attending the local grammar school in Bradford. Hockney wanted to be able to study art, however in order to be allowed to do this he would have had to done badly in all his other subjects. He therefore felt that he had to fail his entire test so he was not free to explore what he wanted. He was also restricted when having to deadline the opportunity to go to junior ART school at the age of fourteen as the scholarship people would not allow him to leave. Eventually, in 1953, he was allowed to go to the British school of art; however this he also found restricted as all he wanted to do was paint but there was no course that would allow him to do this. Although not really what he wanted to do, he decided to do a National diploma in design for which he received a first class diploma with honours in 1957. This was however achieved despite the restrictions of not being able to see the work of