...detailed visual and contextual analysis of each example to demonstrate your understanding of the Bauhaus approach. The Bauhaus school of art opened in April of 1919 by Walter Gropius. Gropius originally rejected the need for standardization and mass production within the arts, but after the first world war Gropius accepted the need.(Fiell, 304) The Bauhaus was created when Gropius combined the art schools Kunstgewerbeschule and the Hochchule fur Bildende Kunst into one.(Fiell, 83) The Bauhaus, meaning "Building House" was located in Weimar, Germany. Gropius wanted to create a new organization of learning for design, and sought to reform educational theory and unify the arts.(Fiell, 83) The Bauhaus curriculum consisted of two parts; students had to complete a year of foundation courses that focused on the use of color, form and materials. Following the year of foundation courses, students were to enter a workshop of their choosing in areas such as carpentry, ceramics, metal etc. The Bauhaus drew influence from other movements such as the Arts & Crafts movement and De Stijl. Throughout the lifetime of the Bauhaus, three directors took charge and led the Bauhaus into different directions. Walter Gropius, originally an architect, was the first director appointed to the Bauhaus; also the founder. Under Gropius, the Bauhaus originally looked to reform by returning to the middle ages. Like the English arts and crafts and the Jugendstil movement, the Bauhaus turned to Expressionism...
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...Abstract This essay employs a visual analysis to compare and contrast Andy Warhol’s ‘Blue Marilyn’ with Roy Lichtenstein’s ‘In the Car’ in association to the postmodernist theme of Consumer Culture and more explicitly, the introduction of Pop Art, born from post-war consumerist societies. The argument refers to eight scholarly research sources, three of which are scholarly journal articles. POSTMODERNITY AND CONSUMERISM: WIT, INVENTION AND THE AFTERMATH OF WAR Research Statement: Using a visual analysis, compare and contrast Andy Warhol’s Blue Marilyn with Roy Lichtenstein’s In the Car in association to the postmodernist theme of Consumer culture and more explicitly the introduction of Pop Art; born through post-war materialisation. The Postmodernist Cannon of the latter twentieth and twenty-first Century Art is a crucial anthology, signifying radical and innovative movements that differentiated from Modernist art practices. It signifies a period of time whereby practitioners sought to contradict the rebellious experimentational aspects of Modernist art through re-visioning and revitalising media to fit the metamorphosing culture. Incorporated within the Cannon were several movements that were heavily influenced by the rise of Consumer cultures, dictated by the post-war explosion of advertisement in the 1950’s, compelling practitioners to manipulate and transform their style in either awe of the perpetually adapting society or in rebellion towards the mass produced...
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...Nicole Kelly 10/13/15 Still ER…Elephant by Carl Cowden Upon visiting the Scarfone Hartley Art Gallery , I came upon a piece by Carl Cowden III entitled Still ER…Elephant. He created the artwork in 1978 and it is done with acrylic on canvas. It is a relatively large artwork, approximately five feet tall and four feet wide. Carl Cowden’s artwork is visually appealing because of the way he utilized the principles of design as well as many different elements of art. Although in black in white, it caught my eye instantaneously because of the content within. Because the artist selected canvas to portray his work, there was no unique texture to it. It was very smooth and sleek. The negative space and absence of light in the background allows the viewer to focus on the subject. The artist uses sketched lines (hatching) to create the objects depicted. The large elephant and ringleader are very realistic but the tiny humans are more abstracted. You can definitely tell that they are humans but they have no real features to depict race or nationality. The first thing that I noticed was the very large elephant being tamed by a ringleader. With a closer look, you can then see that tiny humans are holding up the elephant. The tiny humans as well as the elephant are all on top of a world globe. It seems as though there is a dagger that has speared through it. A Band-Aid is pictured on top of the globe as well over the country of Africa. There are many dollar signs and bills, too...
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...Film Form and Analysis Cinematography Cinematography describes the process by which a film strip is exposed to light to create an image. It encompasses many factors: the camera’s distance from the action, camera angle and direction, type of lens, camera movement, and lighting, among others. The art of cinematography also includes mise-en-scène—the arrangement of objects and movements in the frame. Shot Types The amount of visual information included in the image depends on the distance of the camera from the action and on the focal length of the camera lens. Throughout the history of cinema, filmmakers have favored certain combinations of camera distance and focal length, or shot types. * Extreme long shot: Captures a scene in its entirety; used for establishing location in exterior shots. Used frequently in epic genres such as westerns and war films, it reduces human beings to mere dots on the screen. * Long shot: Accommodates at least the entire bodies of figures (if that is all the shot includes, it is called a full shot). Captures movement, background, and broad gestures and expressions. * Medium shot: Contains a figure from the waist or knees up. It is a functional shot, favored in classical Hollywood editing, often used for scenes with dialogue. * Close-up: Includes very little if any background, concentrating on an object or, if an extreme close-up, a fragment of an object, such as the human face. Close-ups often accord great significance and symbolic...
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...online and to draw your customer’s attention when they’re in your restaurant. But take heed, many restaurants have amazing food photography, but the final product is nothing like what it looks like. This doesn’t mean that you have to plate exactly as the photo, but it does mean you’ve got to deliver on taste IMPORTANCE OF FOOD PHOTOGRAPHY IN MARKETING YOUR FOOD BUSINESS! Great pictures of food can make our mouths water and our stomachs ache for a particular product. This simple fact yields results that would normally only happen via live sampling and literally can save you thousands of dollars introducing a new product to consumers via distribution of photographs on websites, packaging, coupons, ads, and flyers. THE AESTHETIC AND CULTURAL SIGNIFICANCE OF FOOD PHOTOGRAPHY When food first became a subject in photography, images imitated still life paintings and were classed as a form of social documentary, whereby the food was viewed as a cultural item. A collection of this documentary was compiled by curator Virginia Heckert at the Getty museum's photography department, in an exhibition titled ‘In Focus: Tasteful Pictures’. The images reveal the...
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...Cultural Moves AMERICAN CROSSROADS Edited by Earl Lewis, George Lipsitz, Peggy Pascoe, George Sánchez, and Dana Takagi 1. Border Matters: Remapping American Cultural Studies, by José David Saldívar 2. The White Scourge: Mexicans, Blacks, and Poor Whites in Texas Cotton Culture, by Neil Foley 3. Indians in the Making: Ethnic Relations and Indian Identities around Puget Sound, by Alexandra Harmon 4. Aztlán and Viet Nam: Chicano and Chicana Experiences of the War, edited by George Mariscal 5. Immigration and the Political Economy of Home: West Indian Brooklyn and American Indian Minneapolis, by Rachel Buff 6. Epic Encounters: Culture, Media, and U.S. Interests in the Middle East,1945–2000, by Melani McAlister 7. Contagious Divides: Epidemics and Race in San Francisco’s Chinatown, by Nayan Shah 8. Japanese American Celebration and Conflict: A History of Ethnic Identity and Festival, 1934–1990, by Lon Kurashige 9. American Sensations: Class, Empire, and the Production of Popular Culture, by Shelley Streeby 10. Colored White: Transcending the Racial Past, by David R. Roediger 11. Reproducing Empire: Race, Sex, Science, and U.S. Imperialism in Puerto Rico, by Laura Briggs 12. meXicana Encounters: The Making of Social Identities on the Borderlands, by Rosa Linda Fregoso 13. Popular Culture in the Age of White Flight, by Eric Avila 14. Ties That Bind: The Story of an Afro-Cherokee Family in Slavery and Freedom, by Tiya Miles 15. Cultural Moves: African Americans and the Politics of...
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...Syllabus ARH 4470/5482 Contemporary Art Spring 2013 Tuesday and Thursday 2:00-3:15pm Chemistry and Physics, Room 197 Instructor: Dr. Alpesh Kantilal Patel Assistant Professor, Department of Art + Art History Director, Master of Fine Arts Program in Visual Arts Contact information for instructor: Department of Art + Art History MM Campus, VH 235 Preferred mode of contact: alpesh.patel@fiu.edu Office hours: By appointment on Tuesdays and Thursdays (preferably after class). Course description: This course examines major artists, artworks, and movements after World War II; as well as broader visual culture—everything from music videos and print advertisements to propaganda and photojournalism—especially as the difference between ‘art’ and non-art increasingly becomes blurred and the objectivity of aesthetics is called into question. Movements studied include Abstract Expressionism, Pop, and Minimalism in the 1950s and 1960s; Post-Minimalism/Process Art, and Land art in the late 1960s and 1970s; Pastiche/Appropriation and rise of interest in “identity” in the 1980s; and the emergence of Post-Identity, Relational Art and Internet/New Media art in the 1990s/post-2000 period. We will focus primarily on artistic production in the US, but we will also be looking at art from Europe, South and East Asia, Africa, and the Middle East. Emphasis will be placed on examining artworks and broader visual culture through the lens of a variety of different contextual frameworks:...
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...couple of days that I began to figure out how completely at odds with the movie I saw was the one she--and those critics--had seen. The more I thought about it, the more I could see that these were no idiosyncratic subjective responses. Rather, our differences were bound up with Spike Lee's mix of styles of representation, which my sister and I responded to selectively and from very different perspectives. While Lee's representation of the Italians was moving and meaningful to her, she could find nothing in his portrayal of the black community that would provide for the same feelings. For, I came to see, while Lee uses to elaborate his white characters methods and narrative and cinematic techniques that have been broadly popularized by Hollywood and are familiar to just about every American, he uses traditionally black methods to generate his black scene--broader than just "characterization" because it extends to a representation of a diverse totality of a black community, with importance lying more in complex relationships and the material conditions that...
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...African American literature, introducing students to genres, trends, and major periods of African American literature, ranging from the 17th-, 18th- and 19th- century autobiographies and narratives to 20tth –century works. Authors include: Jupiter Hammon, Briton Hammon, Sojourner Truth, Nat Turner, Claude McKay, Zora Neale Hurston, Sterling Brown, Richard Wright, Lorraine Hansberry, Amiri Baraka, Toni Morrison, Haki Madhubuti, Ton Cade Bambara, and August Wilson. COURSE OBJECTIVES By the end of this course, you will: o be able to distinguish amongst genres of literature; o be familiar with various works by and about African American writers in various literary genres; o be familiar with the Black Aesthetic, as well as other literary theories; o gain...
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...styles. Necessarily excluded 排除by this decree规定, linguistically and thematically, was the vast amount of secular 长期的folk material in the oral tradition that had been created by Black people in the years of slavery and after. It might be pointed out that even the spirituals 圣歌or “sorrow悲痛的 songs” of the slaves—as distinct from their secular songs and stories—had been Europeanized to make them acceptable within these African American traditions after the Civil War. In 1862 northern White writers had commented favorably on the unique and provocative激励人心的 melodies of these “sorrow songs” when they first heard them sung by slaves in the Carolina sea islands. But by 1916, ten years before the publication of The Weary Blues, Hurry T. Burleigh, the Black baritone男中音 soloist独唱歌手 at New York’s ultrafashionable非常流行的 Saint George’s Episcopal 主教的Church圣公会, had published Jubilee大赦年 Songs of the United States, with every spiritual圣歌 arranged 编排so that a concert singer could sing it “in the manner 方式of an art song.” Clearly, the artistic work of Black people could be used to promote racial acceptance and integration only on the condition that it became Europeanized. Even more than比起…更 his rebellion反抗 against this restrictive tradition in African American art, Hughes’s expression of the vibrant充满活力的 folk culture of Black people established his writing as a landmark in the history of African American literature. Most of...
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...oppression to the capitalist system. Women suffer a double exploitation as women and as members of the working class. Radical feminists disregard all questions of political and economic dispensation to concentrate on the roots of the problem. The central root of the problem is the system of patriarchy which leads to all kinds of discrimination against and devaluation of women. Politico-economic questions are not the roots but only auxiliaries. The concept of gender is the real villain and has to be demolished. Lately, more groups like Psychoanalytical feminism, Postmodern or Poststructuralists feminism, Black feminism and so on have also been added. Black feminism mainly studies the issues of self- consciousness and self identity of black women who are caught in a dilemma and tries to provide methods to help black women achieve self realization. In the long history, that is black women’s double identity,...
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...The Effect of Using Instructional Songs in the Classroom Danielle B. Segar EDU 787 07 Dr. Judith Dellicolli July 14, 2012 Introduction There are many instructional strategies to catch student’s attention. Over the years music has been a big influence in teacher’s classrooms. Music is a great way to engage students in fun learning. Teachers have even had great success creating songs of their own. Many teachers take popular songs and incorporate lyrics about their lessons. We all know that children love to sing, so what better way than to turn music into something educational. It has been a generally accepted fact that children pick up lyrics to a song quickly. So, coming up with the idea of applying music to lessons was logical. There are websites for teachers who are not musically talented. Those websites provide a variety of songs to be incorporated into lessons. Instructional songs are not the only resource for a student to retain information, because every child brain does not process the same. Instructional song helps to memorize the important facts to understand a lesson as a whole. Music is a tool that is used on a daily basis in preschool classrooms. Review Of Literature Similar to natural language abilities, children are born with natural musical ability, which varies from child to child. Music is used in a variety of families with young children for multiple purposes (Custodero, 2006). When researchers study babies, the process...
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... Octavia Spencer – Minny Jackson Release Date: August 10, 2011 Type of film: American Drama Based on a True Story Genre: Drama Black women raising white children, and the children loved them, and they loved them back, but yet were not allowed to use the toilets in their employer’s house. These are the moments of the black maids in 1963 in Jackson, Mississippi. Plot and Story The Help depicts the lives of black maids and their white employers exposing the racism that the black maids faced on a daily basis. The time is 1963 set in Jackson, Mississippi during the civil rights movement. The film that follows the lives of two black maids and a southern society girl, Skeeter Phelan (Emma Stone), who returns home from college, eager to launch her dreams of being a writer. Skeeter wants to write a book to explain that racism doesn’t just mean withholding of education and voting rights. It is told from the perspective of the black maids so it is narrated through the movie as the voice of black maids that suffered the racism from their employers. The interviewing of the black maids, who spent their lives taking care of the prominent white families propels her small town into an uproar. In the beginning only Skeeter’s best friend’s maid, Abileen Clark (Viola Davis) would talk, much to the dismay of her friends in the close-knit black community. Before long, more women decide to come forward to tell their stories, and as it turns out, they have a lot to say about their...
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...THE RULES OF THE GAME: NOUVELLE EDITION FRANCAISE/THE KOBAL COLLECTION DEEP FOCUS CANON FODDER As the sun finally sets on the century of cinema, by what criteria do we determine its masterworks? BY PAU L SC H RA D E R Top guns (and dogs): the #1 The Rules of the Game September-October 2006 FILM COMMENT 33 Sunrise PREFACE THE BOOK I DIDN’T WRITE I n march 2003 i was having dinner in london with Faber and Faber’s editor of film books, Walter Donohue, and several others when the conversation turned to the current state of film criticism and lack of knowledge of film history in general. I remarked on a former assistant who, when told to look up Montgomery Clift, returned some minutes later asking, “Where is that?” I replied that I thought it was in the Hollywood Hills, and he returned to his search engine. Yes, we agreed, there are too many films, too much history, for today’s student to master. “Someone should write a film version of Harold Bloom’s The Western Canon,” a writer from The Independent suggested, and “the person who should write it,” he said, looking at me, “is you.” I looked to Walter, who replied, “If you write it, I’ll publish it.” And the die was cast. Faber offered a contract, and I set to work. Following the Bloom model I decided it should be an elitist canon, not populist, raising the bar so high that only a handful of films would pass over. I proceeded to compile a list of essential films, attempting, as best I could, to...
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...The Ambiguity of Weeping. Baroque and Mannerist Discourses in Haynes’ Far from Heaven and Sirk’s All That Heaven Allows. Jack Post Abstract Although Douglas Sirk’ All That Heaven Allows (1954) and Todd Haynes’ Far from Heaven (2002) are both characterized as melodramas, they address their spectators differently. The divergent (emotional) reactions towards both films are the effect of different rhetorical strategies: the first can be seen a typical example of baroque discourse and the latter as a specimen of mannerist discourse. The reference to the terms melodrama, mannerism and baroque does not imply that these films are just formal repetitions of historical periods or that they thematically and structurally refer to historical styles, but that they are characterized by opposing discursive strategies which came to the foreground in a specific historical time and constellation. Because these discursive strategies return in other historical periods and socialpolitical circumstances in different guises and with different aims, they can be compared to what Aby Warburg calls Pathosformeln (pathos formula). The expressive forms, gestures and discursive modes of melodrama, baroque and mannerism can thus be understood as transhistorical (gestural) languages of pathos that recur in history. Résumé Bien que All that heaven allows (1954) par Douglas Sirk et Far from heaven (2002) par Todd Haynes se caractérisent nettement comme un mélodrame, les deux films adressent...
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