Art After 1980
What is art? That question has been dissected and examined from every perspective for millennia. When the concept of modern art is brought up, the immediate impression is a large canvas with solid-colored geometrical shapes that is supposed to have some deeper meaning about humanity. This perspective is obviously very limited. Those who have understanding of the reality of modern and contemporary art know that this is far from the truth. The contemporary art movement allows for the acceptance of all forms of art, from sculpture, to paintings, to digital art, to photography, and anything else that can be imagined. The contemporary artist works from the perspective of this cultural moment and in so doing leaves a permanent impression of that perspective. Two such artists are Paul McCarthy and Barbara Kruger. Thought both working from the current moment, the two artists have very different perspectives and the messages they wish to inform through their art have to be constructed in extremely opposing ways.
Paul McCarthy was born in 1945 in Salt Lake City, Utah. It seems incongruous that a city known for wide-spread Mormonism would produce an artist like McCarthy who specializes in taking seemingly innocent aspects of life and making them distasteful. The thesis of McCarthy's early performance art, he stated, was to continue with perverse acts until the audience could not stand it any longer. The result of these works, is the disgust not only at what it is McCarthy is doing but at the consumer culture which has become so harshly jaded that only such atrocities can shock them out of their normal mental space. It is because of the highly controversial nature of his work that McCarthy has been heavily marginalized and unrecognized in the media, except when one of his inflatable sculptures broke loose and broke a window in a children's home. His mentioning in the trade papers is almost always associated with an act of perversion or a misinterpretation. According to Carol Kino in The New York Times, "The lack of recognition also has to do with how much of his work has...
Miller and Eliot on Beauty Comparing and Contrasting "Beauty" in Miller and Eliot Arthur Miller and T.S. Eliot are two 20th century American playwrights. While the latter is more commonly noted for expatriating to Britain and writing some of the most memorable poetry of the early 20th century, the former is noted for his famous depiction of the common man's struggle to find meaning and fulfillment in Death of a Salesman. As
Etruscans If someone living 2,000 years from now wanted to know what took place in the year 2005, it would be necessary to go through impossible amounts of information. Today, scores of individuals with varying agendas write about day-to-day events. Thousands of publications and electronic media maintain records. Before the Common Era the situation was naturally much different. Because so few accounts exist of this time period, anthropologists and historians have
He simply cannot escape these expectations. So, when Robert DeNiro takes on a comedic role, such as the role of the potential father-in-law in Meet the Parents, the moment he comes on the screen, the audience is aware that he is Robert DeNiro, in addition to the character that is being portrayed. Therefore, his character can do things that other characters could not. Who but Robert DeNiro could portray
Millions of dollars are spent on test-prep manuals, books, computer programs and worksheets (Gluckman, 2002). Static/captive learning can help teachers around the nation prepare their students for standardized testing. Significance of the Study to Leadership A principal is the leader of the campus. The challenge for the principal is to know his or her district's mandated curriculum and make sure teachers are able to deliver it (Shipman & Murphy, 2001). As
Monet used brushstrokes and many shades of vivid greens and pinks to portray the garden as if it were viewed through a mist. In 1910, English writer Roger Fry coined the phrase "post impressionism" as he organized an exhibition in London (Shone, 1979, p. 9). Just as the paintings of the impressionists caused a scandal in the art world some forty years earlier, the post impressionist work of artists such
Mookie's frustrated acts show that violence is sometimes justified as a means of "self-defense," in Malcolm X's words. Bigger did not have access to the words of wisdom of either Malcolm X or Martin Luther King Jr. More importantly, Bigger did not have access to a community of like-minded African-Americans who could sympathize with if not totally condone the use of violence to preserve cultural integrity and pride. Mookie and
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