Dubuffet's Sacrifice

The caricatures in the painting, in the eyes of the audience, are amusing. The actions, exaggerated features, and clothing choices of the Black subjects makes them caricatures. These caricatures are strategically curated by Colescott to entertain the audience but also to advance his hidden agenda. While it may appear that the audience is laughing at the Black subjects themselves, Colescott fools the audience by actually making fun of those who created and supported negative stereotypes and tropes about Black people. Through this technique, Colescott tricks and pushes the audience into a state of awareness.

By placing a strong value on the moment of encounter or interaction with art, the author argues that art is not merely a static object but rather, an interaction between the viewer and the art. This language deepens the reader's understanding of Asher as a character and his deep connection to art but also the nature of art itself as a transformative experience rather than a stationary one. 17 Ladover Ideological quote “ One’s duty in life is to keep one’s miseries

“Cry about the simple hell people give other people without even thinking” (Lee 269). In this statement, Dolphus Raymond speaks to the children in attempt to display the reality of hatred and discrimination that surrounds humanity. Throughout Harper Lee’s To Kill a Mockingbird, it becomes quite evident that growing up in a world full of hatred looks much different through eyes that have not seen prejudice. Through these innocent perspectives, the reader looks through a window to glimpse the very raw core of human nature.

Some of the central ideas in But is it art? revolve around art as a complicated subject that doesn’t always have a clear-cut answer to why certain pieces are made and also questioning the expression of the artist. Freeland focuses on ideas rather than styles of art, including disinterestedness and shock tactics to explain a broad concept of why artists create certain pieces. She explores the concepts of art that go beyond looking at a normal painting and instead put objects, colors, and ideas that don’t normally go together in daily life in a way that allows them to flow in sync. Additionally, she provides context from historical events and artists from various periods of time to show how the past pieces contribute to artwork we see today.

Kelly was a biological professor who involved in studying weapons of mass destruction and he committed suicide in the woods in 2003. His death came as a profound shock to the public. Dalwood related it specifically to this man’s story in order to question the political circumstances of Kelly’s death and placed it within an artistic context (Berning, 2010). Dalwood’s use of art historical quotation creates seams of intense richness within the visual language of his paintings. Sudden occurrences of iconic work by other artists are found in residence and at ease within the fabric of Dalwood’s composition.

While reading “The Trouble with (the Term) Art,” written by Carolyn Dean in the summer of 2006, we are taken through an array of different scenarios that lead us to questions what art really is. Dean explores the idea that the word “art” is used far too often and too habitually, and that as we study the non-Western cultures we need to use much more discretion regarding what we call the different pieces of their culture. Throughout the essay, Dean supports her thesis that we too often categorize non-Western pieces as art by using different examples of how certain non-art pieces were deemed as art throughout the course of their history. Dean does this by using four key examples of how these ancient pieces are inappropriately called art to successfully support her thesis and avoid biases.

Fearing for the worse, I quickly took a sharp turn into a different street to avoid walking past them. Just as Staples said, “Its was in the echo of that terrified woman’s footfalls that I first began to know the the unwieldy inheritance I’d come to into -- the ability to alter public space in ugly way.” (239). It soon dawn upon me that although I may not know them, I had made a firm decision to avoid walking past them because I had judge them based on their race and appearances. Similarly to the woman that ran away from Staples because he was a tall black African male and the women had felt his presences to be threatening.

Additionally, the use of everyday objects allow for art to be open to the public, harkening back to Oldenburg’s outlook that art should be for everyone. Due to the use of recognizable commercial objects within Pop Art, the viewer is able to see an alternative and deeper meaning to the

Their ideas are not a reaction to any discourse or dialectic with art culture, but rather a raw and natural response to what is perceived as falsehoods and untruths in the world. For all three artists, we are the dupes succumbing to and being controlled by society 's false rules

Following Henry through his experiences makes the reader hostile towards the people towards whom he is hostile, or fall in love with the person with whom he falls in love. His conversation with the reader is not clichéd, banal or far-fetched and, despite the wide gap between Henry and I- he, a white American male in the 1930s; I, a Black South African female in the 2010’s- I found that we often thought in the same way and acted in the same way in the face of fear, apprehension, anger, sadness and childhood

He accomplishes this through Victor’s retelling of being chased by an amusement park security guard after they learned he was associated with “Dirty Joe”. The young boy tries to escape the microaggressions and blatant racism by running into the funhouse when he approaches, “Crazy mirrors… the kind that distort your features…The kind that make a white man remember he’s the master of ceremonies… the kind that can never change the dark of your eyes and the folding shut of the good part of your past” (Alexie 57). Describing the differences in how a distorted self image can impact the oppressed and the oppressor underscores that constant prejudice can make someone view themself in a negative way yet the identifiable traits used to target marginalized people, will always be a part of them. Crazy mirrors can distort your proportions by enhancing some aspects of your reflection and hiding others. Some mirrors can shrink peoples reflection to make them feel short and small or make someone appear taller or bigger.

Tyler Hollenkamp Artist profile paper October 20 2015 Peter Paul Rubens The first time I remember seeing a work by Rubens was in my high school art class, and I remember it very clearly the impact it had on me. We were watching a slide show on the projector and she brought up one of his paintings being displayed in a museum with hundreds of people around it. The sheer size of this painting was mind blowing, and the awe inspiring scene that was taking place within the painting had an ever lasting effect on me, and is one of the reasons I wanted to be an artist my self.

Hatred, expressed through violence, leaves innocent African Americans to die. The novel To Kill A Mockingbird by Harper Lee withholds a related theme from a child’s perspective. The narrator, Scout and her brother Jem establish an understanding their hometown Maycomb is not perfect. They recognize the injustice of Tom Robinson, a hard-working, honest African American man. In spite of Tom’s discrimination, change from biased decisions

Creative souls surpressed by cruel adversities look to art to release tension, and to gain comfort. “Sticks” by Thomas Sayers Ellis depicts an image of how an abusive father impacts the narrator’s revelation into the world of writing. The speaker’s battle against his “narrow-minded” father propels his journey towards expression, which serves as combat to his cruel, overbearing father. The poem sends a comforting message through imagery, symbols, and diction that writing brings consolation to those facing hardships.

From being a strictly specialist subject catering for a small elite, contemporary art has entered the cultural mainstream in an unprecedented way. This is, perhaps, where one can draw a line between ‘collecting art’ and simply ‘buying art’. Regardless of the motivation, a collector has a serious, eclectic and discernible approach to accumulating art whereas, in comparison, a plain buyer is a sporadic customer for who the value of art may not be the prime consideration while picking up art arbitrarily. Artists are given celebrity status, and in New York City it is a widely quoted fact that more people visited Imran Qureshi’s in situ artwork on the Met’s rooftop than attended Michael Jackson’s concert at Madison Square Garden.