Art After 1980
hat is art? That question has been dissected and examined from every perspective for millennia. hen 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…...

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Works Cited:

Kino, Carol. "Fairy Tales, but Strictly Adults Only." The New York Times. Nov. 2009. Print.

Kruger, Barbara. Remote Control: Power, Cultures, and the World of Appearances. USA: MIT.

1993. Print.

Robertson, Jean and Craig McDaniel. Themes of Contemporary Art: Visual Art After 1980.

There he exhibited 125 of his large Pacific coast views and had more than a thousand images accessible for view through stereoscopes. During these years, he traveled further afield in search of new subjects: he sailed to the barren Farallon Islands, twenty-six miles off the California coast; he photographed the geysers of Sonoma County; he traveled to Mount Shasta in the northern part of the state; and he documented the massive hydraulic gold mining operations in the Sierra Nevada foothills (Watkins' Life and Works, 2010).
Watkins received support in his travels from his friend Collis Huntington, a principal in the Central Pacific ailroad, who offered him a flatcar to carry his van filled with photographic materials. By 1869 the Central Pacific line had pressed through the Sierra Nevada Mountains, allowing Watkins to take photographs of the wilderness landscapes that could now be seen by railroad travelers. Throughout the final years…...

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References

Friedel, Megan K. (2010). Carleton Emmons Watkins (1829-1916). Retrieved July 31, 2010,

from The Oregon Encyclopedia Web site:

 http://www.oregonencyclopedia.org/entry/view/watkins_carleton_emmons_1829_1916_/ 

Hill, Eric. (2004). Carleton E. Watkins. Retrieved August 5, 2010, from Web site:

High enaissance Movement and Its Most Celebrated Artists
The enaissance is referred to as a period of time where there was a great cultural movement that began in Italy during the early 1300's. It spread into other countries such as England, France, Germany, the Netherlands, and Spain. This era continued into the late 1400's and ended during the 1600's. The enaissance times were a period of rebirth and during this time many artists studied the art of ancient Greece and ome. Their desire was to recapture the spirit of the Greek and oman cultures in their own artistic, literary, and philosophic works. The cultures of ancient Greece and ome are often called classical antiquity. The enaissance thus represented a rebirth of these cultures and is therefore also known as the revival of antiquity or the revival of learning.

The artists' works include many aspects of the medieval times and incorporated a religious…...

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References

Leonardo da Vinci." Authors and Artists for Young Adults, Volume 40. Gale Group, 2001. Reproduced in Biography Resource Center. Farmington Hills, Mich.: The Gale Group. 2004.  http://galenet.galegroup.com/servlet/BioRC 

Michelangelo Buonarroti." Authors and Artists for Young Adults, Volume 43. Gale Group, 2002. Reproduced in Biography Resource Center. Farmington Hills, Mich.: The Gale Group. 2004.

and, I did. (Gallimore and Tharp, p. 178, quoting Tafoya).
Tafoya taught her own children and grandchildren in a similar fashion. Even at the age of 95, Tafoya was continuing to make pottery and passing:

her knowledge on to her descendants. Among them is her grandson Nathan Youngblood... [who] describes learning from Tafoya. "My grandmother and I would sit directly across from each other," he says. "I would mirror everything she was doing." Although Youngblood's pots contain traditional Santa Clara symbols, he has incorporated innovative forms, such as an egg shape, into his style. (Brown).

In this way, Tafoya's descendants not only continued the traditional Native American art form, but also her flair for innovation.

To truly understand how Tafoya approached making pottery, it is useful to study how her granddaughter, Nancy Youngblood, describes the pottery-making process. The family gathers to dig up clay in the fall. "The clay is spread out, broken…...

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Works Cited

Brown, Margaret. "Reinventing Tradition." Southwestart.com. 2008. Southwest Art

Magazine. 8 Mar. 2008  http://www.southwestart.com/document/759 .

Gaffney, Dennis. "The Tafoyas: Legends of Pueblo Pottery." Follow the Stories. 2005.

Antiques Roadshow. 8 Mar. 2008  http://www.pbs.org/wgbh/roadshow/fts/stpaul_200401A42.html .

artists be given free rein in the producing and displaying of works that are offensive, objectionable, or disparaging of certain people's beliefs and values? What responsibilities do artists have to their society? What responsibilities does the society have to its artists?
The job of artists is to hold up a mirror to society and comment on both the beauty and ugliness that exists in the real world. It is easy to showcase things that are beautiful. The museums of the world are full of pretty pictures which depict landscapes and lovely people in fancy dresses. However, there are also works of art in museums or galleries which are controversial, unsettling, and perhaps even downright ugly. Some works of art show things that most people do not want to see, such as material which is offensive, or objectionable, or even disparaging of the beliefs and values of others. Such works are…...

Martha Graham
Dancing appears glamorous, easy, delightful. But the path to the paradise of the achievement is no easier than any other. There is fatigue so great that the body cries, even in sleep. There are times of complete frustration; there are daily small deaths. (Graham).

Are there ever any outstanding artists who create a new style or have a completely different vision of expression who are not compulsive, driven and somewhat disturbed? Or, is it actually these personal characteristics that make them become geniuses? Some of the stories related about the great dance innovator Martha Graham's impatience, anger, and obsessive personality are disquieting. Yet she was one of the most important individuals in Western art. As noted in an article by Porterfield about Graham's contribution: "(she) was to dance what Picasso was to painting and Joyce was to literature. One of the most influential dancers, choreographers and teachers of the 20th…...

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References Cited

Bannerman, Henrietta. Overview of the Development of Martha Graham's Movement System. Dance Research, 17(2),Winter 1999.

Campbell, Mary. "An American Original." Dance Magazine. March, 1999.

Cohen, Selma Jeanne (Ed). Dance as a Theater Art. Princeton, NJ: Dance Horizons, 1992.

Daily Worker. "Graham Interprets Democracy." 7 October 1938.

Matisse and O'Keeffe: Modern Artists with Talent and Connections
hat Paul Johnson calls fashion art in the 20th century grew out of the experimental and impressionistic work of the late 19th century. It may be said to have originated with Picasso and Braque and Cubism, which helped launch a number of techniques and movements, such as Abstractionism and Surrealism. Like Picasso and Braque, Henri Matisse had connections with the rich American art patron in Paris, Gertrude Stein. (She purchased Matisse's La Femme au chapeau (oman with a Hat) and sat for Picasso) (Johnson 657). The American painter Georgia O'Keeffe was not connected to Stein, but she did study fashion art and transpose it (after a series of skyscraper works) onto the natural world. Matisse and O'Keeffe, though disconnected by the Atlantic, both found support from the art establishment (Matisse through Stein, O'Keeffe through her husband Alfred Stieglitz, "the owner of New…...

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Works Cited

Chave, Anna C. "O'Keeffe and the Masculine Gaze." Art in America (Jan 1990), pp.

115-179. Print.

Johnson, Paul. Art: A New History. NY: HarperCollins, 2003. Print.

Wolfe, Tom. The Painted Word. NY: Picador, 1975. Print.

He began with very fuzzy looking works of light and sun, then began to paint more sharply drawn works, especially of women. His earliest works have urban subjects. They are typical "Impressionist snapshots of real life, full of sparkling colour and light," but by "the mid-1880s," Renior "had broken with the movement to apply a more disciplined, formal technique to portraits and figure paintings, particularly of women" such as his "Bathers," painted slowly over the course of the years of 1884-87. (Picoch, 2002)
Edgar Degas -- representing movement and the working class

Of all the Impressionists, Edgar Degas is acknowledged as the master of drawing the human figure in motion. Degas worked in many mediums, preferring pastels to oils. He is perhaps best known for his paintings, drawings, and bronzes of ballerinas and of race horses. Movement's ability to engage in the expressive aims of impressionism is what is important. "These…...

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Works Cited

Burns, Sarah. "Cassatt, Mary." World Book Online Reference Center. 2005. World Book, Inc. .[12 Aug 2005]

'Camille Pissarro." Encyclopedia Britannica. 1994. Web Museum Paris.   Aug 2005]http://www.ibiblio.org/wm/paint/auth/pissarro/ [12

Cox, Phyllis, Fran Hyder, Sandra Gibson, Myra Douglas, & Alan Bishop,

2003 Web Quest Aug 2005]http://www.spa3.k12.sc.us/WebQuests/Impressionism/[12

Mock Interview
Hello, Mr. Bosch. Thank you for meeting with me today. Please tell me how and why you decided to become a painter.

Becoming a painter was a natural choice for someone whose father was also a painter. The real question for me was, what kind of painter do I become? hat is the best way to improve my skills and earn a living from my work? In 's-Hertogenbosch, it was fairly easy to acquire the tools and training that I needed, and my father provided to me as much as he could. My father, Anthonius van Aken, worked closely with local religious organizations to train their painters.

Please describe for me what it was like for you growing up in 's-Hertogenbosch, and what it is like to live here now.

e were always a fairly well-to-do family, and 's-Hertogenbosch was in fact as pleasant when I was growing up as it is…...

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Works Cited

Bosing, Walter. Hieronymus Bosch, C. 1450-1516: Between Heaven and Hell. London: Taschen, 2004.

Falk, Kurt. The Unknown Hieronymus Bosch. Singapore: Factorum, 2008.

Moxey, Keith. "Hieronymus Bosch and the 'World Upside Down': The Case of The Garden of Earthly Delights. In Visual Culture: Images and Interpretations. Eds. Norman Bryson, Michael Ann Holly, and Kieth P.F. Moxey. Wesleyan University Press, 1994.

Pioch, Nicholas. "Bosch, Hieronymus." 14 Oct, 2002. Retrieved online:  http://www.ibiblio.org/wm/paint/auth/bosch/

Portraits: Talking ith Artists at the Met, The Modern, The Louvre, And Elsewhere
Attempting to put art into words can be like trying to put that proverbial lightning in a bottle: art often seems to defy description, much as art critics attempt to do so. Even artists themselves often struggle with articulating the concepts behind their works. Various attempts over the years have been made to make art, particularly abstract modern art more intelligible, including trying to film the artist Jackson Pollock painting one of his famous 'drip' paintings from below the surface of a piece of glass. In the book Portraits: Talking with Artists at the Met, the Modern, the Louvre, and Elsewhere, the New York Times art critic Michael Kimmelman adopts a different technique and actually asks prominent modern artists to talk about art in front of paintings and photographs at various museums. Not only does he ask them…...

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Works Cited

Kimmelman, Michael. Talking With Artists at the Met, the Modern, the Louvre and Elsewhere.

New York: Random House, 1998.

Another political and public sidewalk mural done by Beever is his Politicians Meeting Their End, drawn on the night of the 1997 General Elections outside the Bank of England. In this work, Beever creates the illusion of a deep well in the middle of the sidewalk with unpopular politicians being pulled in. Again, like most of his works, this one demands the viewers attention and gives a clear message.

ulian Beever's work encompass several post-modern ideas. First, his works is often focused on current events or celebrities, and therefore encompass the pop-art trend often found in postmodern art. Further, his work is a type of installation art in that it is created and displayed in extremely public places, often causing a disruption in the general flow of the area it is placed. As such, his work is the essence of post modern's focus on the real and the current, making ulian…...

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Julian Beever's Home page:  http://users.skynet.be/J.Beever/ 

Images of Julian Beever's chalk art:

http://www.jewishhigh.com/view/196109.html

Female Artists Who Worked in the American West
The subject of female artists working in the American West has often been overlooked due to pervasive Western male stereotypes. These stereotypical images include popular media overlays of cowboys, male hero icons and male activities. Yet, the environment of the American West has been the inspiration for many American female artists. One of these is the landscape photographer, Laura Gilpin. Gilpin's relation to the West and the connection of that particular landscape to her work is obvious from the following quotation:

What I consider really fine landscapes are very few and far between," Laura Gilpin wrote to a friend in 1956. "I consider this field one of the greatest challenges and it is the principal reason I live in the West. I am willing to drive many miles, expose a lot of film, wait untold hours, camp out to be somewhere at sunrise, make…...

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Bibliography

Brayer, Elizabeth. "A Show of Her Own." Afterimage 23.3 (1995): 16. Questia. 24 Apr. 2004  http://www.questia.com/ .

An exhibition review of women artists that questions the lack of representation of these artists in relation to the quality of their work.

Women Artists of the American West. Laura Gilpin. Perdue University. 23 April, 2004. http://www.sla.purdue.edu/waaw/Sandweiss/index.html

An excellent overview and detailed description of various less-known female artists working in the American West.

Lives Artists: Volume 2 Giorgio Vasari, Peter Murray, George Bull, Book Review -The audience read book, give
Essentially, the author of the work of literature entitled Lives of the Artist, Volume 2, created this work in order to immortalize artists who painted approximately during the time of the Renaissance. Some of these individuals who are depicted in this book are famous and are known by posterity without this piece of literature; others, however, are decidedly less so. In the latter case Vasari's work serves to preserve some of the memorable facets of the character behind the artist. In all cases, he helps to build the legend of these devoted artists while also portraying them as regular humans. To the end that Vasari is simply issuing a collection of remembrances and overviews of a plethora of different artists, this manuscript does not explicitly have a thesis. Additionally, the author is not necessarily…...

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Works Cited

Bull, George. Vasari, Giorgio. The Lives of the Artists Volume 1. New York: Penguin Classics. 1988. Print.

Columbia Electronic Encyclopedia. "Vasari, Giorgio." Literary Reference Center. 2014. Web. http://eds.a.ebscohost.com.library.gcu.edu:2048/eds/results?sid=8bc6a794-575a-4634-acb1-a5f7391f5e0e%40sessionmgr4005&vid=23&hid=4110&bquery=%28Vasari%29+AND+%28lives+%22of%22+the+artists%29&bdata=JmNsaTA9RlQmY2x2MD1ZJnR5cGU9MSZzaXRlPWVkcy1saXZlJnNjb3BlPXNpdGU%3d#ResultIndex_2

Beever's success has skyrocketed from his skill in this realism. As a result, he has been eagerly contracted for various special events of both political and social regard.
Often referred to as the 'Pavement Picasso,' Beever has produced his art on the streets of Birmingham where he directly correlated pieces to the celebration of the Chinese New Year. In Edinburgh's city center, he connected a piece to the G8 summit that proved to influence a persuasion of art, politics and humanity. Beever has also recently been asked to create a distinct work on the driveway of a soon-to-unveil New York City fire station in commemoration of the fallen firefighters in 9-11.

As Julian Beever's esteem cultivates to further audiences, his work continues to be heavily anticipated and eagerly followed. He has begun a trend in modern art that is hardly comprised of direct competition and thus, will undoubtedly prevail in developing…...

incongruous to try to compare the artists illiam Shakespeare and Bob Marley. These two men, separated by centuries and embodying two very different forms of art, both make up part of the history of popular culture. One man is considered the premiere playwright in the history of the English language, a man whose name is synonymous with high culture. The other man is known for his success in a musical genre and a culture that uses a different meaning for the word high. hat could these men possible have in common one might ask? Examining the history and writings of both Renaissance writer illiam Shakespeare and reggae musician Bob Marley it becomes evident that they both use emotional appeals and heavy symbolism to prove points about the human condition and to promote understanding between people from different stations of life, all of which are used to persuade others that…...

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Works Cited:

Backus, Truman J. 1897. "William Shakespeare." The Outlines of Literature: English and American. Sheldon: NY. 90-102.

Laroque, Francois. The Age of Shakespeare. Harry N. Abrams: London.

Marly, Bob, 1973. "Get Up, Stand Up." Burnin'. Tuff Gong.

Marley, Bob, 1973. "I Shot the Sheriff." Burnin'. Tuff Gong.