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Mass-Produced Art, 2008.
An examination of the essay "The Work of Art in the Age of Mechanical Reproduction" by Walter Benjamin.
2,326 words (approx. 9.3 pages), 3 sources, MLA, $ 71.95
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Abstract
The paper explores Walter Benjamin's, "The Work of Art in the Age of Mechanical Reproduction" and looks at how digital cinema may be interpreted as a classic instance of technology democratizing the creative and artistic process. The paper discusses how the camera in general is a tool that can become exploited by those with political objectives in mind. Finally, the paper looks at the redemptive aspects of modern mass-produced art. The paper shows how the age of mass-produced and mass-replicated art offers much that is promising and redemptive, but also presents some genuine challenges.
From the Paper
"Benjamin begins by writing that works of art, at least in principle, have always been reproducible. To wit, man-made creations could always be replicated by man - such as students in an art studio creating copies for the honing of their craft. In the age of mechanization, however, the mechanical mass-reproduction of art meant that an item could be replicated at an astonishing speed - indeed, with a speed that previous generations would have found bewildering (Benjamin, 2). Suffice it to say, digital cinema intersects with Benjamin's observation to the extent that this commonplace piece of contemporary technology now makes it easier than ever before for someone to capture an object - be it a painting or any other form of art - and to distribute said image to whomever and wherever they wish (via electronic transmission, of course)."
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Frida Kahlo and Georgia O'Keefe, 2008.
A comparative analysis of feminist iconography in the works of Frida Kahlo and Georgia O'Keefe.
2,447 words (approx. 9.8 pages), 10 sources, MLA, $ 74.95
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Abstract
This paper compares and contrasts Frida Kahlo's exhibition: "Five Fridas" at the Bass Museum of Art and "Circling Around Abstraction" by Georgia O'Keefe. It attempts to show how a comparison of the works examined in these two exhibitions reveal a feminist iconography that uses vegetation and flowers to exude the beauty of female genitalia. It also discusses how these feminist iconographic images do not always coincide equally by the two artists, as Kahlo provides a contrasting dimension of Mexican nationalism and sensuality in her feminist approach in relation to O'Keefe.
From the Paper
"The exhibition at the Norton Museum of Art entitled "Circling Around Abstraction" by Georgia O'Keefe provides a variety of different vegetative or flowery representations through abstract stylization. One example of this is found within the work: Grey Blue & Black--Pink Circle (1929) where O'Keefe provides what appears to be a flower with its interior pistils and stamens extending into where horticulturists define the ovary at its center. This entry point of the flower was often depicted in O'Keefe's paintings, especially due to the nature of the flowers seemingly similar reproductive organs in relation to the human female (Hoffman 45). "
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Oedipus Rex, 2008.
This paper examines the painting "Oedipus Rex" (1922) by Max Ernst.
741 words (approx. 3.0 pages), 1 source, APA, $ 26.95
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Abstract
The paper analyzes Max Ernst's artwork "Oedipus Rex" through the Freudian Oedipus complex and through the play "Oedipus Rex" by Sophocles. The paper considers how the surrealistic style of Ernst is used to depict the symbolic sexual tension between father, mother and son, especially in the case of the walnut and the arrow that penetrates it. The paper explains that this type of Freudian approach to painting is part of Ernst's desire to reflect his own inner conflicts.
From the Paper
"The painting Oedipus Rex (1922) by Max Ernst was a direct result of his fascination with birds and the idea of a deeper unconscious mind working beneath the veil of surface thoughts. Ernst believed fervently in the premise of the bird as a symbol of how mankind sought to be free through flight, which acts in accordance with the Freudian concept of condensation. The link between the play by Sophocles and the painting only invigorate this idea, since the premise of the son in Freud's theory is to free himself from fatherly constraints to bond with his mother in intercourse. The nut being portrayed in the painting is clearly a female symbol of the vulva with the male fingers vying to enter it."
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Spirituality in Paintings by Wassily Kandinsky, 2008.
An analysis of Wassily Kandinsy's text, "Concerning the Spiritual in Art" and his paintings.
3,619 words (approx. 14.5 pages), 4 sources, MLA, $ 100.95
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Abstract
This paper discusses the spiritual foundation for the artistic and spiritual ideology of Wassily Kandinsky. It then provides a textual and analytical critique of his paintings and examines his written work, "Concerning the Spiritual in Art,". The paper also discusses the geometric symbolism that would inevitably become part of his own painting process.
From the Paper
"The musical foundation for spiritual painting is also revealed by Kandinsky, as he further defines the nature of a higher power through the discourse of time, color, and form. Kandinsky understands this overall or macrocosmic view of painting, which defines the need for an understanding of music to determine the nature of metaphysical properties in his compositions. In Composition VII, the idea of a triangular ascension of form is directly related the movement of the objects in the painting revolving around the central oval shape."
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Paul Signac, Pointillism and Anarchism, 2008.
This paper discusses artist Paul Signac, focusing on pointillism and anarchism.
2,030 words (approx. 8.1 pages), 15 sources, MLA, $ 64.95
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Abstract
In this article, the writer notes that in the late nineteenth century, the movement known as Neo-Impressionism was influential in French art circles. The writer points out that one of its most prominent figures was the pointillist, Georges Seurat and that in 1884, as he was developing the pointillist technique for which he is largely remembered, Seurat met Paul Signac. The writer discusses that although their personalities were different, the two collaborated, with Signac regarded as secondary: talented, but overshadowed by a genius. After adopting pointillism at the inspiration of Seurat, Signac refined his technique from the fluid style which drew inspiration from the subject matter, to a controlled and refined art. In addition, the writer notes that Signac was torn between technical craft and the political movements of his day. The writer maintains that in recent years, the art community has re-examined its assessment of Signac, finding that he deserves more than the very secondary position to which he has typically been relegated.
From the Paper
"While Signac accepted this view, Seurat did not adopt the anarchism that many Impressionists including Signac endorsed. In January 1886, Paul Alexis, a journalist and supporter of the writer Emile Zola, launched a subscription fund for the support of striking miners. Like Signac, Seurat had inherited a comfortable setting, and preferred the amenities that it provided. While he wanted more artistic freedom that the traditional ruling Salon would allow, he was not an anarchist. Seurat did not contribute to Alexis' subscription; Signac and Camille Pissarro did."
"Signac was very much aware of the complex of political currents stirring in France. After 1888, he studied the works of Elisee Reclus, Kropotkin and Jean Grave, and eventually fell into the anarchist camp at least philosophically. Despite this, he regarded himself primarily as a painter rather than a political figure, and expressed himself in paint."
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Mondrian and Abstract Art, 2008.
This paper discusses the life of Piet Mondrian and the development of abstract art.
884 words (approx. 3.5 pages), 1 source, MLA, $ 31.95
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Abstract
The paper describes the works and life of Piet Mondrian, the Dutch abstract painter. The paper traces the development of Mandarin's style from the beginning of the 20th century until the 1940s. The paper also shows how Mondrian was one of the pioneers of geometric abstract art.
From the Paper
"Abstract art can trace its origin to the later part of the 19th century when artists began to move away from simply imitating the physical world. Cubist and futurist paintings for example "represent highly abstracted interpretations of the material world" (Arnason, 217). The abstract painters began to use only color, shape and form to explore new artistic expressions. Hence modern abstract art can be called non-representational and non-objective. One of the most important movements in the development of modern abstract art was the De Stijl group in the Netherlands, which began in 1917. The group wanted to create "the art 'for clarity, for certainty, and for order" (Arnason, 231)."
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Art Activism and WWII's Korean Comfort Girls, 2008.
An analysis of how artistic activism is attempting to draw more supporters to the comfort women's cause.
2,042 words (approx. 8.2 pages), 7 sources, MLA, $ 64.95
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Abstract
This paper discusses the ways that artistic activism portrays Korean girls who were sent to serve military brothels of the Imperial Japanese Army (IJA) throughout occupied Asia, during World War II. It discusses how, together with international law, litigation and documentation, artistic activism has attempted to draw more supporters to the comfort women's cause.
Table of Contents:
Introduction
Artistic Activism
Exhibits in North America
Concluding Discussion
From the Paper
"Far work continues to be promised in the future, as more women and other artists take up the cause of the comfort women, making use of their testimony collected in several countries and what are said to be numerous surviving photographs taken shortly after the end of the War or at different times in the surviving comfort women's futures. For viewers not at all interested in imperial Japan's atrocities in Asia or the comfort women in particular, each work discussed in this paper, nonetheless, succeeds in a kind of informal reminder that what we see in the exterior or a person, or in perceptible emotions, can tell very little indeed as to a person's precise life experience. Of the third or so of comfort women to survive their existences of being military prostitutes, each had an horrendous story of devaluation, violence and injuries of all kinds."
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Artemisia Gentileschi's and Art History, 2008.
An examination of the contribution of Artemisia Gentileschi to art history, regardless of her gender.
2,764 words (approx. 11.1 pages), 8 sources, MLA, $ 82.95
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Abstract
This paper examines the intervention of the remarkable woman artist, Artemisia Gentileschi. The paper shows that it is impossible to separate her unique contribution to art, from her material conditions, including her gender. The paper argues at the same time that her intervention to art history must not be reduced to her gender, or overly sexualized, but appreciated for itself.
From the Paper
"It is suggested that this statement should stand as the conclusion to the above attempt to separate art as art in itself from the gendered, biographical and social reality of Artemisia's life. There can be no doubt that Artemisia made a substantial intervention in art history, not least of all by portraying women as active agents, not merely as objects to be watched. There can also be no doubt that it was remarkable that she managed to do this, given the fact that she was female in a society that did not provide to women the material conditions necessary for art to be produces. Moreover, judging from her oeuvre, there can be no doubt that the rape by Tassi had a profound influence on her work, and may in fact account for her status as a proto-feminist. Nevertheless, in assessing her intervention, we must always resist the temptation to reduce our assessment to nothing but a gender-based analysis. To do so would trivialize her by sexualizing her, and would not do justice to her achievements, and to her intervention in art history."
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Venetian Painting in Relation to Local Interests, 2008.
A review of the relationship between culture and the works of various Venetian artists.
925 words (approx. 3.7 pages), 7 sources, MLA, $ 32.95
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Abstract
This paper discusses Venetian painting and artists and their relationship to local interests and human nature. It looks specifically at the works of Lodovico Dolce, who is an author, Pietro Aretino, who is a poet, Paulo Pino, who is a painter and writer and Giorgio Vasari, who is a painter and architect. It describes some of their works and briefly how they were affected by the culture around them.
From the Paper
"Giorgio Vasari saw things differently, again, as is made plain in his The Lives of the Artists (1550) which appeared in a much expanded form in 1568. (Bonadello 1991, Gaunt 1963) Vasari was also a painter and architect, his paintings criticized for their quality of mannerism, in that he conformed too much to a studied composition, and he came to be most admired for his talents as a decorator, his home in Arezzo considered a masterpiece of what we today know as interior design. With regard to the topics introduced above in this paper, Vasari was a confirmed admirer of Michelangelo as placed him at the opposite pole from Dolce in his regard for Titian, though he did note Titian's ability in his second volume. (See Gaunt 199-201). Vasari became embroiled in the local artistic politics of Venice when in 1541 he visited Venice with copies of Michelangelo's paintings Leda and Venus Reclining with Cupid which he presented to the Duke of Urbino, soon writing to the duke to press him to buy both works. Naturally this incensed Lodovico Dolce who remained attached to Titian and had been working towards the duke's purchase of Titian's Venus and Adonis. The Duke of Urbino had long been one of Titian's important patrons in a city-state and region of many artists and limited patrons."
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Digital Black and White Photography, 2008.
An analysis of the history of digital photography and a comparison of its results with those of analog cameras, focusing on black and white developments.
1,353 words (approx. 5.4 pages), 7 sources, MLA, $ 45.95
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Abstract
This paper argues that digital cameras are better than analogue cameras. Specifically, the paper looks briefly at the history of digital photography, at its utility in matters such as record-keeping and crime-fighting and at some noteworthy instances of digital photography producing impressive and compelling works. Finally, the paper looks at all of the various reasons why it may be said that digital black and white photography is better than analog black and white photography.
From the Paper
"More than that, the technology that makes digital black and white photographs possible always runs the risk of becoming obsolete. For instance, the old Epson 2200, 7600, 9600 printers have been pushed aside by Epson Stylus Pro 4800, by the Epson Stylus Pro 7800, and by the Epson Stylus Pro 9800 (FLAAR Network, para.8); simply put, unlike the fairly low-maintenance prints rendered by analog cameras, the "splashy" digital B&W prints of today place photography enthusiasts in the uncomfortable position of seeking out new technological tools that have a (quite literally) a built-in obsolescence factor. Be that as it may, though, most photographers will gladly accept this trade-off if it means the chance to be more creative."
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