| Papers [21-30] of 1926 :: [Page 3 of 193] | | Go to page : <— 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 —> | |
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Art Outreach Programs, 2008.
This paper looks at the crisis in art funding in the US and discusses art outreach programs.
1,684 words (approx. 6.7 pages), 6 sources, MLA, $ 54.95
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Abstract
In this article, the writer discusses that since funding for school programs in the US has been so drastically reduced, art outreach programs have become absolute necessities for many communities. The writer points out that these programs also introduce not only children to art, but adults are benefiting from these programs as well. The writer explains that exposure to art at any age can bring about a transformation in an individual, giving them a window into a different world and perhaps a new window into themselves they may have never seen before. The writer concludes that outreach programs have the ability to touch entire communities and should be supported and encouraged as much as possible for their positive and long-term effect.
From the Paper
"Whether the student pursues art as a career, the exposure to art and other creative concepts adds a depth to his or her experience that is essential to any well rounded education. Art education opens up certain area of thinking that is often not usually accessible under the standard curriculum of educational techniques. Sections of the brain are activated during these activities that quite often do not get much exercise in the world of the three R's. Either in self-reflection or self-expression, art is a major resource that is being poorly utilized in education at this time. A quick snapshot of the rising rate of crime and recidivism among juveniles is one of the obvious results of this.
"Although always in trouble, the crisis in art funding has been slowly building over the past decade."
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Mosaic: "Parting of Lot and Abraham", 2008.
Examines the technical and symbolical details of the fifth century mosaic "The Parting of Lot and Abraham", presently located in Santa Maria Maggiore in Rome.
1,290 words (approx. 5.2 pages), 4 sources, MLA, $ 43.95
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Abstract
This paper hypothesizes that the mosaic "The Parting of Lot and Abraham" not only represents an important event in history but also explores the symbolism of the division between good and evil. The author first summarizes the biblical accounting to get a deeper appreciative of the figures involved in this event. The paper relates that the very direct and powerful composition of the mosaic is dominated by the foreground figures Lot and Abraham placed with a considerable gap between them, which emphasizes the irreversible decision for them to part: Abraham on the left moving towards Canaan and Lot in the opposite way, towards Sodom with his two daughters.
From the Paper
"The mass behind the two figures which are placed in foreground is shown using dark contrasting colors and tones which have faded considerably over time. In fact, the mass of heads in the background is a common Roman art device suggesting that the division is not only between Lot and Abraham, but between two peoples, and ultimately, two moral categories, i.e. good and evil. The shading also gives a three dimensional effect to the mosaic, this being a highly characteristic quality of Roman art. Nonetheless, the illusion of spatial depth is reduced by the strong outline of the figures."
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Basquiat--Portraits in Cinema and in Print, 2008.
A comparison of the film, "Basquiat," directed by Julian Schnabel and the book, "Basquiat: A Quick Killing in Art," written by Phoebe Hoban, both biographies of artist Jean-Michel Basquiat.
987 words (approx. 3.9 pages), 2 sources, MLA, $ 35.95
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Abstract
This paper discusses the life and works of half-Haitian, half-Cuban artist, Jean-Michel Basquiat. It compares two biographies of the artist - a film, "Basquiat," written and directed by Julian Schnabel and a book, "Basquiat: A Quick Killing in Art," written by Phoebe Hoban. The paper reeviews each and discusses how fair each one is in its representation of Basquiat.
From the Paper
"A more balanced book, with the perspective of years that is less interested in gossip and more on Basquiat's legacy as African-American outsider artist, a man who inspired others to create, will hopefully be written someday. A budding art student seeking to truly understand Basquiat would be better directed to studying his visual works. Someone trying to understand his soul might be better directed to the film, for all of its brevity. Everyone, however, who is familiar with Basquiat can at least take this one lesson from his legacy--the importance of art to young people in the world today. Without the ability to hone his technique and to find his artist voice, Basquiat would simply be another drug addict, long forgotten by the word. Words and the left side of the brain are not suited for everyone, as they seek to find a vehicle of expression, and using art to help alienated young people connect with the world is important, not just for tormented individuals like Basquiat, but for everyone striving to live their lives in a more meaningful fashion. Art is a way to express life eternally, and transcends gossip and fashion."
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Picasso and Cubism, 2008.
This paper examines "Les Demoiselles d'Avignon" by Pablo Picasso and discusses the aspect of cubism.
866 words (approx. 3.5 pages), 1 source, MLA, $ 30.95
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Abstract
In this article, the writer studies Picasso's painting "Les Demoiselles d'Avignon" and notes that Picasso is considered one of the persons that most revolutionized the history of art. The writer points out that the painting reveals a new point of view where Picasso eliminates all tradition, denying realism, the canons of depth and the classical ideal of the female body. Specifically, the writer describes the painting's composition, its structure, the lack of light or shadows in the drawing, how logic and colors are used in the work, and how a new element, the movement, that would be developed by contemporary art, is introduced in the painting.
From the Paper
"The entire composition is reduced to a group of angular planes, with no background or space perspective. The shapes are marked by light and dark lines. Five nude women are seen in the centre. On the lower part there is a still nature, typical of cubist preferred subjects, created by a group of fruits over a clothed table. This combination of many elements, that seemed put together on top of the flat background, reminds the collage fashion of contemporary art.
"The two most cubist faces, that resemble masks, are clearly influenced by African art, that was beginning to be known in Europe around that time. They seem unnaturally colored as real masks, and present exaggerated features more caricaturist that portraitist. The two faces on the centre are inspired on medieval frescoes and primitive Iberian sculptures. The woman on the left resembles ancient Egyptian paintings, not only by her profile design, but the body posture: standing up, rigid, arms close to the body, one foot forward."
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"Baraka:" A Meditation on the Sacred in Art, 2008.
A review of the 1992 silent film "Baraka," by Ron Fricke and Mark Magidson, and a discussion of the role of the sacred in the art of filmmaking.
1,260 words (approx. 5.0 pages), 5 sources, MLA, $ 42.95
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Abstract
This paper discusses the pantheistic view of the world revealed in the 1992 movie "Baraka," in which art is used to highlight the concept that nature is religion. The writer describes the film and its artistic heritage, and explains how the images are sequenced to influence the viewer in a very specific way.The writer concludes that by juxtaposing what is considered sacred with the supposedly profane and showing that they are all part of the ebb and flow of life on earth, the movie relays the message that all is one, and there is spirituality to be found even in the rawest and most ordinary aspects of nature.
From the Paper
"One response to the movie at the time of its release was: "Baraka tries to make the argument that there is no single cultural legacy but rather all aspects are important" ("The Movie Baraka as Evidence of a Human Cultural Legacy," Anthology of Ideas, 2006). It might be added, it suggests that the human legacy itself can only be understood as important and valid if it is taken into consideration holistically, rather than piecemeal. No aspect of the world, even the parts seen as particularly sacred are superior to other aspects of life. This may seem to contradict the centrality of religious images in the iconography of the film."
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Modern Iconography, 2008.
An exploration of modern conceptions of iconography and how it plays a role in contemporary art.
1,332 words (approx. 5.3 pages), 6 sources, MLA, $ 44.95
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Abstract
The paper explores the meaning behind religious symbols commonly used in works of art throughout history and the ways in which iconography itself has been considered over the ages. The paper looks at the works of contemporary artists such as Felix Gonzales-Torres, Guillermo Kuitca and Vik Muniz, and analyzes the deployment of iconographical symbols and images in art in the context of the present. The paper attempts to show how modernization and the ongoing process of technological innovation continue to shape the evolving practice of iconographical analysis in works of art both old and new.
From the Paper
"Iconography concerns itself with the symbols and historical context that are believed to determine the intrinsic meaning of a work of art. While iconography played a major role in the art history of the 19th century, it was not until the 20th century that the principles of iconography became solidified into a coherent program. This was mainly the work of one man, the art historian Erwin Panofsky. Panofsky engineered a three-tiered approach to iconographical understanding."
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Illustration and Artwork, 2008.
This paper explores the styles and works of illustrators from the 19th century until today.
2,875 words (approx. 11.5 pages), 10 sources, APA, $ 85.95
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Abstract
The paper relates that because it is used in commercial, military and political applications, illustration also acts as a means to trace social and cultural history. The paper therefore looks at the many well-known illustrators in America's history in order to show how the mediums and types of illustration have changed with the times. The paper looks at several illustrators who were politically affiliated and expressed their beliefs through their artwork.
From the Paper
"Today, with the high-tech electronic communication and the ease of using computers to conceive of, draw, or refine artwork, it is difficult to conceive of an environment where there were few visuals and all had to be done by hand one-by-one. The creativity that existed through this artwork has been "illustrious," where each designer uses an "illustration" or an image to enhance or make communication more attractive. "Illustration is a communicative tool, clarifying and defining our understanding of the world" (National museum of American illustration). Because it is used in commercial, military and political applications, illustration also acts as a means to trace social and cultural history. It is a significant and lasting art form that provides an actual visual record of civilization."
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Jean-Michel Basquiat, 2008.
An examination of the meaning found in two untitled paintings by Jean-Michel Basquiat.
1,789 words (approx. 7.2 pages), 4 sources, MLA, $ 57.95
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Abstract
This paper examines two untitled paintings, painted by Jean-Michel Basquiat in 1981. It first discusses a painting of an abstract landscape split vertically down the center by a thin red line. The paper then discusses the second painting - an ecstatically colorful portrait of a solitary male figure. The paper discusses the meaning in each painting.
From the Paper
"What one finds, when examining both the paintings discussed here, is that they are emblematic of one of the main themes running throughout Basquiat's oeuvre - man's conflict between nature and culture. In the first painting, the human figure is conspicuously absent. But a number of tools and vehicles that man's development has relied upon over the years - from the hammer to the airplane - form the nexus of the painting. In this regard, the absence of a human figure is haunting. It infers that the tools that we have invented in the name of progress very well may outlast us in our ongoing struggle to master the natural world."
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Art Theory and "The Abuse of Beauty", 2008.
This paper discusses theories of art and studies "The Abuse of Beauty" by Arthur Danto.
939 words (approx. 3.8 pages), 3 sources, APA, $ 33.95
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Abstract
In this article, the writer notes that the central intention of "The Abuse of Beauty" by Arthur Danto is an investigation of art theory and aesthetics that can be unpacked in terms of two central and related trajectories. The writer discusses that Danto firstly explores the assumption that beauty is a measure of what art is or should be. In the exploration of this assumption, Danto explains how the ideal of beauty has been derided and opposed in modern art theory. The writer points out that related to this is the second trajectory, which is an analysis of the changes in the definition and meaning of art.
From the Paper
"The fact that art is in a state of crisis and flux in terms of its meaning, definition and status is clear from the analysis of modern theoretical concerns and contemporary aesthetics that Danto provides in this work. He uses the central subject of beauty not only to elucidate on this state of crisis but also to advocate a more open ended and inclusive understanding of art; that is not only circumscribed and determined by the concept and ideal of beauty. While clearly showing in his analysis of the changes in thinking about art why beauty cannot be the determining factor in art, he also pleads for the inclusion of beauty as an aspect of the definition and understanding of art - but only as one aspect and not the sole determining factor.
"Throughout this piece, Danto is clear in his view that the development of movements, innovations and understanding in art are closely aligned to theory and philosophical discourse."
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Stalin and Visual Arts, 2008.
An examination of the impact of Stalin's socialist realism on visual arts in the Soviet Union.
2,081 words (approx. 8.3 pages), 7 sources, MLA, $ 65.95
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Abstract
The paper analyzes the general impact of politics on Soviet art during the Stalinist period, specifically between 1920 and 1945. The paper examines Stalinist architecture and posters and discusses how visual arts became the main component of communist propaganda in the Soviet Union. The paper therefore shows how Stalin's vision of the arts was that they should glorify political and social ideals of communism.
From the Paper
"When it comes to political regimes, modern societies can be characterized as democratic or totalitarian. Throughout history, political regimes have always wielded influence over the arts. This influence has manifested itself in various manners, ranging from social aspects which translated into a particular theme which was adopted by many artists in a particular period of time, or simply in the form of restrictions imposed on artists by the ruling class. In this sense, it is quite clear that totalitarian regimes are the most harsh and limitative."
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